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1
Capobianco, Natan. "La couleur des vitraux au XIIIème siècle. Étude chimique et spectroscopique." Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUS296.
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La richesse des couleurs des verres des vitraux médiévaux est un élément caractéristique des grandes cathédrales gothiques. La coloration du verre est principalement due à des ions de métaux, comme le cuivre, le fer et le cobalt, et dépend de paramètres de fabrication du verre, tels que sa composition chimique ou l’atmosphère du four de cuisson. Ces verres sont donc des témoins importants dans l’histoire des techniques verrières. Nous avons dans un premier temps réalisé une synthèse des compositions de verres médiévaux français publiées, afin de mieux cerner le lien entre leur évolution temporelle, leurs disparités régionales, et les matières premières utilisées. En profitant de la dépose de la Rose de la Cathédrale de Reims, nous avons utilisé un dispositif de spectroscopie optique portable spécialement conçu pour analyser de manière non-invasive la couleur des verres de ce vitrail majeur, ainsi que l’origine de leur coloration. Nous avons ainsi pu mettre en évidence la maîtrise par les verriers médiévaux de nombreux procédés de coloration, et la comparaison avec les verres issus de restaurations montre l’évolution des techniques de coloration et l’attention portée par les restaurateurs au respect des couleurs des verres anciens. Parmi ces couleurs, les verres incolores à pourpres sont colorés par un même mélange de manganèse et de fer. Grâce aux spectroscopies optiques et XANES, et la comparaison entre des verres médiévaux issus de réserves de l’État et des verres modèles les reproduisant, synthétisés par nos soins, nous avons pu montrer que la maîtrise des colorations incolores à pourpres résultait d’un contrôle des conditions oxydoréductrices de la cuisson des verresColour variety of medieval stained glass is a characteristic feature of gothic cathedrals. Glass colour results mainly from ions of metals such as copper, iron and cobalt, and depends on parameters from glass fabrication, like its chemical composition or the furnace atmosphere. These glasses are thus important witnesses in the history of glass technology. First, we summarised the reported French medieval glass compositions, to work out the relationship between their changes over time and geography and the prime materials that have been used. The restoration of the Rose of Reims Cathedral allowed us to use optical absorption spectroscopy, with a portable device specifically designed, to analyse in a non-invasive manner the glass colours of this major window and the origin of the colourations. We showed how medieval glassmakers mastered many colouration processes and comparison with glass from previous restorations showed the consideration of restorers for matching the colour of ancient glasses. Among the colours, colourless to purple glasses are all coloured by a mixture of iron and manganese. Thank to XANES and optical absorption spectroscopies, and to the comparison between medieval glasses from state reserves and reproduction glasses we synthesised, we show that mastering of colourless to purple colouring result from a smart control of the oxidoreductive conditions in the furnace during glassmaking
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Beltrán, González Martí. "Analysis and degradation mechanisms of enamels, grisailles and silver stains on Modernist stained glass." Doctoral thesis, Universitat Politècnica de Catalunya, 2021. http://hdl.handle.net/10803/671478.
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Materials and methods used in the production of modernist (late 19th and early 20th century) stained glass from the city of Barcelona with special regards to the degradation mechanisms of enamels, grisailles and silver stains have been studied. Coloured enamels from the raw materials used in the Rigalt, Granell & cia modernist workshops from Barcelona were produced and compared to those found in the buildings and belonging to the private collection of J.M. Bonet workshop to explore the reason for the reduced stability of the blue and green enamels. The chemical composition has been determined (and pigments identified) by means of Laser Ablation Inductively-Coupled Plasma Mass Spectrometry (LA-ICP-MS), X-Ray Diffraction (XRD) and UV-Vis-NIR spectroscopy, and the thermal properties of the enamels measured by Differential Scanning Calorimetry (DSC) and Hot Stage Microscopy (HSM). The enamels are made of a lead-zinc borosilicate glass characterised by its low sintering temperatures and high stability against chemical corrosion, in particular to water corrosion. However, the relatively narrow range of firing temperatures necessary for correct adherence of the enamels to the contemporary glass base may have required the addition of a high lead borosilicate flux, which would have increased the lead content of the enamel, decreasing the firing temperature but also its stability. The historical enamels show a lead, boron and zinc depleted silica rich amorphous glass, with precipitated lead and calcium sulphates or carbonates, characteristic of extensive atmospheric corrosion. The blue and green enamels show a heterogeneous layered microstructure more prone to degradation which is augmented by a greater heating and thermal stress affectation produced by the enhanced Infrared absorbance of blue tetrahedral cobalt colour centres and copper ions dissolved in the glass and, in particular, of the cobalt spinel particlesS'han estudiat els materials i mètodes utilitzats en la producció dels vitralls modernistes (finals del segle XIX i començaments del segle XX) de la ciutat de Barcelona, especialment en relació als mecanismes de degradació d’esmalts, grisalles i grocs de plata. S'han produït i estudiat els esmalts de color a partir de les matèries primeres utilitzades pel taller Rigalt, Granell & cia de Barcelona, per comparar amb mostres originals pertanyents a la col·lecció privada del taller J.M. Bonet vitralls per així estudiar la raó de la reduïda estabilitat dels esmalts blaus i verds. La composició química i els pigments han estat identificats per LA-ICP-MS, espectroscòpia d'UV-Vis-NIR i XRD, i les propietats tèrmiques dels esmalts han estat mesurades amb DSC i HSM. Els esmalts són vidres borosilicats de plom i zinc caracteritzats per baixes temperatures de sinterització i una gran estabilitat contra la corrosió química, especialment respecte a la corrosió de l'aigua. No obstant, el relativament estret marge de temperatures necessari per una correcta adherència dels esmalts al vidre base de l’època podria haver requerit l’addició d’un fundent amb un alt tant per cent de plom i bor, que podria haver augmentat la proporció de plom a l’esmalt disminuint la temperatura de treball juntament amb la seva estabilitat. Els esmalts històrics presenten una composició alterada a on plom, bor i zinc han disminuït en front a un augment de la proporció de silici a la fase vítria, amb l’aparició de precipitats de sulfats o carbonats de plom i calci, característics de l’efecte de la corrosió atmosfèrica. Els esmalts blaus i verds presenten una microestructura en capes heterogènies que són més susceptibles a la degradació, la qual augmenta degut a la calor i l’estrès tèrmic respecte al vidre base que provoca una major absorbància a la regió de l’infraroig proper deguda a la presència d’estructures tetraèdriques dels ions de cobalt i coure dissoltes a la fase vítria, i en particular de les partícules d'espinel·les de cobalt
Se han estudiado los materiales y métodos utilizados en la producción de los vitrales modernistas (finales del siglo XIX y principios del siglo XX) de la ciudad de Barcelona, especialmente en relación a los mecanismos de degradación de esmaltes, grisallas y amarillos de plata. Se han producido y estudiado los esmaltes de color a partir de las materias primas utilizadas por el taller Rigalt, Granell & cia de Barcelona, para luego comparar con muestras originales de la colección privada del taller J.M. Bonet vitralls y así estudiar la razón de la reducida estabilidad de los esmaltes azules y verdes. La composición química y los pigmentos han sido identificados por LA-ICP-MS, espectroscopía UV-Vis-NIR, y las propiedades térmicas de los esmaltes han sido medidas con DSC y HSM. Los esmaltes son vidrios borosilicatos de plomo y zinc caracterizados por bajas temperaturas de sinterizado y una gran estabilidad contra la corrosión química, especialmente contra la corrosión del agua. No obstante, el relativamente estrecho margen de temperaturas necesario para una correcta adherencia de los esmaltes al vidrio base de la época podría haber requerido la adición de un fundente con un alto tanto por ciento de plomo y boro, que podría haber aumentado la proporción de plomo en el esmalte disminuyendo la temperatura de trabajo junto con su estabilidad. Los esmaltes históricos presentan una composición alterada donde plomo, boro y zinc han disminuido a favor de un aumento de la proporción de silicio en la fase vítrea, con la aparición de precipitados de sulfatos o carbonatos de plomo y calcio, característicos del efecto de la corrosión atmosférica. Los esmaltes azules y verdes presentan una microestructura en capas heterogéneas que es mas susceptible a la degradación, que aumenta debido a la temperatura y al estrés térmico respecto al vidrio base que provoca una mayor absorbancia en la región del infrarrojo cercano debido a la presencia de estructuras tetraédricas de los iones de cobalto y cobre disueltos en la fase vítrea, así como a la presencia de partículas de espinelas de cobalto
3
Cheshire, James Peter. "Early Victorian stained glass." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244419.
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Allen, Jasmine. "Stained glassworlds : stained glass at the International Exhibitions 1851-1900." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/3991/.
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Studies of nineteenth-century stained glass are sparse, and tend to focus on the medium in its ecclesiastical and architectural settings. This thesis broadens such approaches by placing stained glass in its wider cultural, political, economic and global contexts by considering its display at ten international exhibitions held in England, France, the USA and Australia between 1851 and 1900. These temporary exhibitions provide a unique vantage point from which to survey the perception, practice, and status of stained glass during the peak of the medium’s revival. Drawing on contemporaneous written and visual sources, as well as recent studies of nineteenth-century culture, this study explores the extent to which the international displays of stained glass at these exhibitions shaped and developed the appreciation, application, understanding and permeation of stained glass throughout the nineteenth-century. This thesis demonstrates how the classification and various modes of displaying stained glass impacted future perceptions and displays of the medium. It considers the ways in which stained glass was part of a broader culture of spectacle in this period. It identifies those who made and exhibited stained glass for display at the international exhibitions, revealing their motives for participating and additional roles as reviewers and judges of exhibits. This project reveals, for the first time, the significance of the international exhibitions in the history of stained glass. It draws on nineteenth-century critical reviews, visual records and exhibits (both extant and non-extant) and offers close readings of specific stained glass exhibits, which are analysed in relation to stylistic developments, and to medieval and modern glazing techniques. Finally, the thesis demonstrates how stained glass was a symbolic and iconographic vehicle for expressions of nationalism and imperialism at these international events. By considering the presence of stained glass in the international exhibition environments, this thesis suggests the medium is a crucial and neglected aspect of nineteenth-century modernity.
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Boggio, Paolo. "The Stained Glass Island: analytical commentary." Thesis, Birmingham City University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573692.
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The portfolio of compositions and the present commentary are the fulfilment of my research degree in Composition as a part-time distance learning student from 2004 to 2011 at the Birmingham Conservatoire. My research is entitled The Stained Glass Island and it includes five works for different instrumentations, from large orchestra to solo instrument. The two main works are for large orchestra: The Stained Glass Island I and The Stained Glass Island II. The supporting chamber works are for quintet (Oskar’s Circus), for trio (Oskar’s Dance) and for solo instrument (Oskar’s Dream). A number of musical materials coming from the orchestral works flow into the chamber works and vice versa, with the aim to explore their expressive and musical possibilities through different instrumental forces. The portfolio also includes a CD with recordings of my works premièred in the US, Spain, Italy and the UK, on the occasion of international composition competitions and concert series. The initial inspiration for my research comes from The Dreaming Youths (Die träumenden Knaben), eight colour lithographs and a poetic text by Oskar Kokoschka, the expressionist painter and poet. Kokoschka’s narration of a fantastic journey, his use of stylisation, the deformed figures, the emphasis on intense contrasting inner moods and the allusive and hallucinated poetic language impressed me greatly, creating powerful visual and emotional suggestions for the composition of this series of works. This commentary begins with a short background focusing on a number of compositions by other composers that were particularly influential on my work. The next chapter explains my harmonic technique and how it tries to express in music the main aspects of Kokoschka’s work. After a short analysis of Die traümenden Knaben lithographs and poetic text the following chapters analyse my works in greater detail. The conclusion looks at the motivation of this research, its development and outcomes, in light of the whole work, its performances and achievements during these years.
6
Suganthan, Shanmugalingam. "Enhancement of images of stained glass windows." Thesis, University of Derby, 2003. http://hdl.handle.net/10545/213789.
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Heritage conservators are interested in using digital images in the analysis of stained glass windows. Images of stained glass are significantly different from those of most other subjects because their colour is generated by transmitted, rather than reflected light. Also the medium has a wider dynamic range between highlight and shadow areas than most "real world" scenes. In many cases the background is partially visible through the glass, typically showing trees, foliage, sky or other buildings. Images of stained glass taken with external illumination very often contain shadows, moreover, cast by structures such as protective bars and grilles. The physical structures producing the shadows are often irremovable, because they are difficult to access or constitute structural elements of the window. It is thus necessary to provide a suitable set of image processing tools to remove both background and shadows from the digital images. This research was aimed at the problem of normalising a stained glass image (or a series of images) to remove artefacts arising from imaging geometry, illumination and background. The scope of the investigation covered the statistics of stained glass images, segmentation and feature extraction, and removal of image defects, including non-uniform illumination, shadows of bars and grilles, and background. This thesis introduces systematic procedures to calculate statistics of stained glass on digital images. Some interesting features are explained. The scale invariance property of images is examined carefully, and characteristic scaling behaviours of stained glass images are found. To developed novel algorithms for segmentation and feature extraction, and removal of image defects, including nonuniform illumination, shadows of bars and grilles, and background. These algorithms have been implemented using Mattab. These techniques enable the image defects and shadows to be characterised and removed with a reasonable degree of success.
7
Rush-Bambrough, Sally. "Glass painting in Scotland, 1830-70." Thesis, Glasgow School of Art, 2001. http://radar.gsa.ac.uk/4928/.
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This is a thesis in two parts. Chapters one to four examine the circumstances of the stained glass revival in Scotland while chapters five to eight identify the particular character of nineteenth century Scottish glass painting up to the 1870s. The opening question is whether or not by the early nineteenth century glass painting was truly an art in decline and this discussion leads into the investigation of the significance of progress in the glass industry to the stained glass revival. This line of questioning continues with the identification of the pioneers of the stained glass revival in Scotland, re-assessing the contribution of James Ballantine and introducing William Cooper. The initial demand for stained glass in Scotland is explored through reference to genealogy, antiquarianism and High Church practice. Edinburgh offered unique opportunities for apprentice glass painters to acquire an art education and this thesis moves on to discuss how this influenced their approach to glass painting, focusing upon the career of Francis Wilson Oliphant. It argues that the commissions which shaped the future direction of Scottish glass painting were the rebuilding of the Houses of Parliament and the re-glazing of Glasgow Cathedral where, in both cases, German glass painting was nominated as the approved artistic model. As it was eventually decided that the new windows for Glasgow Cathedral should be designed and executed by the Königliche Glasmalereianstaff of Munich, thesis concludes with a demonstration of the subsequent German influence upon Scottish glass painting.
8
Simmons, Christopher. "Fiat lux: climatic considerations in medieval stained glass aesthetics." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21909.
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As expressions of regional architecture built to last, sacred Gothic structures often possess several adaptations to their prevailing climate regime. However, the late medieval period in Europe is also marked by a transition to cooler and likely cloudier conditions. It is within the context of this climate change that we consider one of the most important considerations in Gothic churches—interior daylighting—during the transition from the Medieval Warm Period to the Little Ice Age. This thesis seeks to determine whether increasingly cloudy conditions over northern continental Europe may have influenced the use of more white glass in the Fourteenth century. With primary illuminance and luminance data collected in Europe, the results indicate that full-colour programs appear to perform best under sunny conditions, whereas later, white-dominated programs provide similar illumination under cloudy conditions. However, this high-translucency glazing is associated with limited lighting gains and major aesthetic drawbacks under sunny conditions.Etant donné que les cathédrales gothiques ont été construites pour durer, plusieurs adaptations aux climats regionaux y ont été apportées. Cependant, la fin du Moyen Âge fut marquée par un changement climatique vers des conditions plus froides et probablement plus nuageuses en Europe du nord continentale. C'est donc dans ce contexte que nous cherchons à comprendre l'un des éléments les plus importants de l'architecture gothique—éclairage naturel intérieur—durant la transition entre la période chaude médiévale et le petit âge glaciaire. En particulier, cette thèse voudrait évaluer la relation entre l'utilisation de plus en plus fréquente du vitrail blanc durant le XIVème siècle d'un côté et le changement climatique d'un autre côté. Avec des données d'éclairement lumineux et de luminance lumineuse collectées dans plusieurs cathédrales en Europe, les résultats indiquent que les vitraux plein-colorés éclairent mieux l'interieur durant les journées ensoleillées. D'autre part, les vitraux incolorés du XIVème siècle fournissent un éclairage similaire durant les journées nuageuses, toutefois ils ne présentent que peu d'avantages dans des conditions plus ensoleillées, de plus l'utilisation du vitrail plus transparent produit des effets négatifs sur le plan esthétique.
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MacNeil, Edward J. "The stained-glass menagerie, Catholic women in educational leadership." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0019/MQ28611.pdf.
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Ciaran, Fiona. "Stained glass in Canterbury, New Zealand, 1860 to 1988." Thesis, University of Canterbury. Art History, 1992. http://hdl.handle.net/10092/7555.
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The region of Canterbury, New Zealand, contains a large collection of nineteenth and twentieth-century stained glass windows. Founded by British emigrants in 1850 as a Church of England settlement, Canterbury retained close links with Britain well into the twentieth century and this is reflected in the importation of stained glass windows.
While the majority of windows are found in Anglican churches and include
accomplished works by Victorian studios, other denominations also commissioned
stained glass. There is a smaller but significant sample of works by Australian,
French, German and Irish studios. Twentieth-century windows include major
works by Arts and Craft Movement artists. Work by New Zealand studios
increases from the beginning of the twentieth century, and after 1973, importation
ceases.
Although stained glass is a monumental, public art form of immense visual appeal, this collection has, until now, remained unrecognised and undocumented. This thesis presents a comprehensive catalogue of all ecclesiastical and selected secular stained glass windows in Canterbury. Divided into two main groups, reflecting the author's assessment of the significance of individual windows, the catalogue forms the basis of an analysis of the collection as a whole. Critical attitudes towards stained glass, the status of the medium, patterns of installation, the roles played by key people in the selection of commissions, questions of patronage, commemoration, iconography and vandalism are discussed. Appendixes provide statistical data on the collection as well as biographical and historical information on the studios, designers and executants represented. New information is presented about British artists, some of whom have been virtually unexamined by historians.
It is argued that stained glass in Canterbury not only comprises the most important regional collection of windows in New Zealand, but also that its imported twentieth century works rival those of Australia's. The exportation of nineteenth and twentieth century stained glass from Britain is represented in microcosm in Canterbury, thus necessitating a reappraisal of the history of British stained glass. Finally, the development of local studios represents a significant but neglected aspect of artistic life in New Zealand.
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Shepherd, Stanley alan. "The stained glass of A.W.N. Pugin, c. 1835-52." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365282.
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Magelinskaitė, Vilma. "Vitražo projektas Kauno „Ąžuolyno sporto centre“." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130731_124959-68542.
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Magistro praktinėje dalyje kuriu architektūros ir vitražo tarpusavio ryšį. Kauno miesto Ąžuolyno parke įsikūręs „Ąžuolyno sporto centras“ papildo čia pat esantį sporto „miestelį“. Architektai Vilius Adomavičius, Vida Vyšniauskienė ir Darius Čiuta suprojektavo modernų 117 m. ilgio ir 12 m. pločio pastatą, kurio architektūrinėje plastikoje dominuoja stiklas. Pastate įrengtos administracinės, kavinės, spa procedūrų, grožio salono, rūbinės, trenerių kambarių, vandens procedūrų ir sporto salės patalpos. Architektūrinėje situacijoje modeliuoju modernaus vitražo meninės raikšos priemones, remdamasi stiklo medžiagiškumu, spalvos ir mastelių pokyčiais, jų tarpusavio santykiu. Supančių medžių krintančius šešėlius ir jų atspindžius stikle perfrazuoju ažūrinio tinklo stilistika, kuri organiškai kinta, persipynusi su skaidriais ir spalviniais vitražo plotais, tuo būdu pabrėžiu pastato ir supančios aplinkos ryšių išsaugojimą. Sukurdama dviejų stiklo sluoksnių „tinklą“, kuris pasižymi spalvinės gamos įvairove, atkreipiu dėmesį į spalvų veikimą viena kitos atžvilgiu, tarpusavio persipynimą ir emocinę įtaigą. Magistro praktiniame darbe pateikiamas darbo planšetas bei vitažo projekto architektūroje detalė (130 x 95 cm., stiklas, glazūra, smėliasrovė).In the practical part of my work I create relation between architecture and stained glass. I chose „Ąžuolynas Sport Centre“ that complements „sports town“ situated in Ąžuolynas park in Kaunas. The modern building was created by architects Vilius Adomavičius, Vida Vyšniauskienė and Darius Čiuta. The building is 117 meters long and 12 meters wide. Inside there are administration premise, cafes, a beauty salon, cloakrooms, rooms for trainers, gym, spa and water treatment rooms. Glass dominates compositional expression of the whole building. I design modern stained-glass forms emphasising characteristic glass qualities such as materiality and colour. I base my work on relation between architecture and glass, search for optimal forms that complement architectural lanscape. I incorporate shadows of the trees in the environment and recreate their reflection on glass using openwork grid. This stylistic element is united with transparent and coloured glass areas. I also try to sustain the relation between the building and its environment. Creating a double glass net, which shows a wide spectrum of vibrant colours, I pay attention to colour effectiveness, their relationship between each other and also emotional potency. For the presentation of practical work a plane-table and a detail of stained glass project are represented (130 x 95 cm., glass, glazure, sandblasting).
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Brown, Maria Florence. "Seeing through light : a selective history of architectural stained glass." Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404550.
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Zhang, Xiang. "Application of laser technologies in the restauration of stained glass." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/27748.
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In this work, an attempt is made to go a step further in application of laser
technologies in the restauration of stained glass. Several cleaning experiments have
been conducted by two sub-nanosecond pulsed lasers (a UV laser and a n-IR laser),
and materials taken for this study were a 16th century stained glass sample from the
Cathedral of Cuenca and some samples of commercial modern glass. Parameters
affecting the cleaning outcomes were studied and the applicability of the selective
cleaning method for stained glass restoration was explored. The treated samples
were analyzed by optical microscopy, confocal microscopy, scanning electron
microscopy and energy dispersive X-ray spectroscopy. Results showed that the
alteration and ablation phenomena varied considerably depending on the selected
laser parameters, as well as on the chemical compositions (thus also the colors) of
the glass samples. Selective laser cleaning proves to be a feasible technique for
relatively precise and controllable cleaning of cultural heritage stained glass, but
caution must be taken in its application; RESUMO:
Aplicação de tecnologias laser no restauro de vitrais
Neste trabalho, tenta-se dar um passo adiante na aplicação de tecnologias laser na
restauração de vitrais. Vários experimentos de limpeza foram conduzidos por dois
lasers subnanosegundos pulsados (um laser UV e um laser n-IR), e os materiais
tomados para este estudo foram uma amostra de vidro colorido do século XVI da
Catedral de Cuenca e algumas amostras de vidro comercial moderno. Parâmetros
afetando os resultados de limpeza foram estudados e a aplicabilidade do método
seletivo de limpeza para restauração de vitrais foi explorada. As amostras tratadas
foram analisadas por microscopia ótica, microscopia confocal, microscopia
eletrônica de varredura e espectroscopia de energia dispersiva de raios-X. Os
resultados mostraram que os fenômenos de alteração e ablação variavam
consideravelmente, dependendo dos parâmetros do laser selecionados, bem como
das composições químicas (e também das cores) das amostras de vidro. A limpeza
seletiva a laser demonstra ser uma técnica viável para a limpeza relativamente
precisa e controlável de vitrais do patrimônio cultural, mas deve-se tomar cuidado
em sua aplicação.
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Atkinson, Caroline Sarah. "William Peckitt's Great West Window at Exeter Cathedral." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/887.
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This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. The thesis provides initially an account of the debate that raged in the national press and beyond about the propriety of replacing Peckitt’s window. This documentary evidence gives a valuable insight into attitudes towards the adornment of churches at the turn of the century: should respect for the extant fabric include Peckitt’s one-hundred-and-fifty year-old contribution or should the building be renovated with a modern medieval-revival window. Until recent times it was largely the case that eighteenth-century glass was regarded as wholly inferior to the medieval glass that preceded it and it is widely accepted that glass making in Britain only recovered with the nineteenth-century Gothic revival and the modern glass that followed it. In this thesis it is suggested that the denigration of eighteenth-century glass and in particular that of William Peckitt at Exeter, ignores its qualities, practical and intellectual, and the Great West Window is used to reveal the seriousness of such endeavours. Peckitt’s work is positioned within the context of the particular circumstances of the restoration of Exeter Cathedral in the mid-eighteenth century under two successive Deans, Charles Lyttelton and the aforementioned Jeremiah Milles, both of whom were nationally significant antiquarian scholars. Peckitt was knowledgeable about medieval glass techniques, worked sensitively in restoring medieval glass and when designing a completely new window for the Cathedral worked closely with Milles to provide an iconographical scheme that was appropriate for the Cathedral, its history and its patrons. The evidence brought forward suggests that it is wrong to presume that glass designers like Peckitt had little understanding of medieval glass manufacture nor any interest in using the medium of glass appropriately in the context of a medieval building.
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Ransom, Shirley Anne. "Stained glass : an investigation into the design potentials of an architectural material." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77048.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 125-129).
Colored glass is a building material usually associated with churches or days of bygone glory. Yet the material would apparently have much to offer in window openings, curtain walls, even as structural block in the creating of contemporary spatial environments. The thesis examines two periods in architectural history -- the American Renaissance when the widespread popularity of stained glass was at its peak and the subsequent Modernist period when the use of stained glass was strongly questioned even in the bastions of ecclesiastical architecture. The context of architectural philosophy is studied to elucidate the qualities of the material as a design medium. Two case studies from the 1880s, Trinity Church and the Yerxa-Field residence, are analyzed. A short sketch problem attempts to illustrate the findings by transforming a modern structure with the addition of stained glass.
by Shirley Anne Ransom.
M.S.
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Groll, M. "Thomas and Drake and the transatlantic trade in stained glass, 1900-1950." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/17480/.
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This research explores the world of Thomas and Drake, a transatlantic art dealership formed by landscape painter George Grosvenor Thomas (1856-1923), his son Roy Thomas (1886-1952), and glass-painter and glazier Wilfred Drake (1879-1948). Together, they were the only art dealers to have specialised solely in the selling and adaption of Medieval and Renaissance stained glass during the first half of the twentieth century, and did so on an unprecedented scale. Handling thousands of panels, their stock now underpins many collections worldwide, underlining their status as exceptionally important and prolific vendors. This thesis provides an in-depth and sustained study of the activities of Thomas and Drake, and its predecessor, the Grosvenor Thomas collection. Unravelling their rich stock, often sourced from English country houses (often from those that were the receptacles for high quality displaced continental stained glass, collected by British aristocrats during the early nineteenth century), this work provides part of the next chapter in the story of the trade and dispersal of European glazing schemes. Stained glass is situated as an important interior design element, especially popular in the revival style mansions of the extremely wealthy, where other original architectonic salvages from once great country estates were also accommodated. The ways in which their stock was physically transformed, both before and after sale, is revealed, as well as the firm’s origins, operations, collaborators, and customers. Sustained analysis of the different phases of collecting undertaken by Glasgow-born William Burrell (1861-1958), the firm’s most longstanding customer (and founder of the internationally significant Burrell Collection museum) illustrates Thomas and Drake’s work in context. This is enhanced by new reconstructions of the layout and glazing of Burrell’s final home, Hutton Castle (Scottish Borders), and transcriptions of the extensive correspondence between Wilfred Drake and William Burrell have been reproduced in full for the first time.
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Paige, Merritt Medlock Johnson. "Professions of faith : stained glass making and the visual culture of theology." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24476.
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The world is a fractured place, faceted and fascinating in variety but broken in strife. Artist Gerhard Richter, said “Art is the highest form of hope” and the thinker Martin Heidegger said that art is a “happening of truth”. Marc Chagall hoped his art connected with people’s lives and sufferings and would become infused with prayer for redemption. How does visual art (and thinking theoretically and theologically about art) contribute toward hope and truth that bring the fragments of society into personal and communal connection? This is a practice-based (or studio-led) thesis in stained glass making at the juncture of the interdisciplinary fields of visual culture and religion. Making the visual art of stained glass windows involves collaborating, selecting, breaking, combining – processes that embody the unifying of disparate pieces. There are three projects and three chapters included in this research that work cohesively to show how visual art can facilitate a shift in us to see with compassion that guides our actions to care, and the word “EidenSight” is introduced to give vocabulary to this. Research draws primarily from reflections on collaborative studio work, visual art and visual artists, aesthetic theory (especially of Heidegger’s essay “The Origin of the Work of Art”) and thinking theologically through these sources. Stained glass has been a profession of work and a profession of faith; here the ancient art is created for contemporary places and raises questions theoretically and theologically and identifies themes that contribute to an understanding of how art affects us. Over the centuries, stained glass has contributed to architecture, art history, and theological aesthetics, as well as viewers’ personal and social experiences, from ecclesial settings to public spaces. This research contributes three commissioned site-specific stained glass installations (two in the US and one for the University of Stirling’s Art Collection) that lead the written thesis which is embedded full of images and has a correlating website: www.eidensite.weebly.com. The results are visual and verbal: requirements for the practice-based thesis include a heavily documented practical element in correlation with a shorter written component (30-80,000 words). Within the limits of these parameters, this research offers completed stained glass windows and a written thesis that includes insights from those projects, plus three chapters on: the material of glass, the space of the window, and the implications of being stained and a main conclusion that ties those elements together contributing to the overall thesis question: can art help us see with compassion that leads to care. Three institutions now have an original work of art substantiated by written theory, and the submitted thesis is substantiated by works of art viewable on different continents.
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Villaro, Izaskun. "Analysis of the energy savings gained by protective glazing on stained single-glass windows at Uppsala cathedral." Thesis, Högskolan i Gävle, Avdelningen för bygg- energi- och miljöteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22101.
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Most European stained glass windows have no protection to reduce the damage due to environmental exposure, and this is the case of the great gothic windows in the Uppsala Cathedral. Currently, the implementation of protective glazing systems is being carried out in order to reduce the damage of the stained glass. In this connection, an analysis of the energy saving potential of the protective system is of great interest. The main obstacle in the implementation of this kind of systems is a social rejection based on the fact that the additional panes perturb the appearance of the historic building. Thus, demonstrating that there would actually be an energy saving, with the corresponding economic saving, would help approving the implementation of the protective glazing system. Measurement data needed for the analysis were available since they were used in condensation studies for the damaging analysis. However, the fact that this data was not gathered thinking of the energy saving analysis and its difficulties, some limitations have appeared in the present study. Accordingly, the needed simplifications imply some uncertainty in the results. However, the reliability of the results and the conclusions that can be drawn from the analysis are contrasted with previous similar studies. Different methods of calculation and analysis will be discussed, and finally results for the heat transfer coefficients through the open air gap and through the whole double paned system will be obtained. Furthermore, an energy saving analysis will be carried out with the winter data for both the case of the case of the Sonens fönster and the case of also implementing a similar system in the rosette of the cathedral. As a result, the conclusions drawn will be that the implemented protective glazing system reduces the heat losses through the windows to less than a third and that savings of about 8700 kWh/year and 13000 kWh/year are achieved in the case of the system being implemented only in Sonenes fönster and also in the rosette respectively. Finally, a rough study of the condensation problem will be exposed and possible matters, along with some advices, of further studies regarding more accurate analysis of both the condensation and the energy saving analysis will be presented.Church project
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Chanda, Brian Thomas. "Color, Texture and The Space In-Between: An Architectural Intervention of Stained Glass." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71682.
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This thesis studies the use of stained glass as a building material and how it can enhance the visual presence of light, materiality and space in a building interior.
Lighting, color, and texture were integral paths of study which culminated in a stained glass installation at the concrete Cube at the Research + Design Facility in Blacksburg, Virginia.
The resulting space becomes a room that reveals a dimension of architectural space not rarely studied or thought about when designing, revealing the way light continually shapes and defines a space throughout the seasons and time of day. The goal of the installation is to highlight ordinary conditions of light and space in a new light through color intervention of the interior.Master of Architecture
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McIntyre, Lavonia Elizabeth Kess. "Scratching the stained glass ceiling: inspiring women through the voices of other women." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2013. http://digitalcommons.auctr.edu/dissertations/2619.
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Women in leadership have had a difficult time rising into positions of leadership in the church. Qualified women in the local church are not realizing their dreams and or achieving their goals because of barriers which include sexism in the church and society, cultural differences and the inner struggles through various expected roles within their family structure. Women in the local church need proper nurturing, guidance and or support in the articulation or the manifestation of their ministerial visions and goals.
There is very little data available regarding women in leadership. Research suggests that even though women make up the majority of membership in the church, women are disproportionately represented in the leadership of the church. Research further suggests that even though Americans are comfortable with women as leaders, relatively small numbers of women make it to top leadership positions relative to their male counterparts.
The conceptual framework integrated ideas from theological, biblical and theoretical perspectives. The theological perspective focused on several theologians within the categories of the theology of liberation, feminist theology, Black feminist theology and womanist theology. The biblical perspective was explored through the arguments about women in leadership from the egalitarian and complementarian viewpoints. The biblical perspective further discussed women in leadership within the arguments about women in leadership from the egalitarian and complementarian viewpoints. The biblical perspective further discussed women in leadership within the biblical context. Finally, the theoretical perspective investigated the theory of subordination as it relates to women in leadership. The theory of subordination was explored in three sections: (a) the biblical theory of subordination, (b) the cultural theory of subordination and (c) the pastoral domination theory of subordination.
The purpose of this project is to encourage and inspire women who have the potential to be leaders by assisting them to develop leadership skills, enabling them to step forward as true leaders in the church using a "Wo-Mentoring" approach.
The research project was conducted at Saint John C.M.E. Church in Monticello, Georgia. Women in this congregation were involved in a program that will help them envision their goals, identify the barriers that preclude them from reaching their goals, and help them utilize the voices of other women to give encouragement as future leaders. This program enabled these women to develop skills to process their issues, understand themselves, and visualize goals assisting them in creating a workable road map toward these goals. The intended results are changes from within - transformation. The women should be different in their approach to leadership in various ministries.
In the project, the women participated in leadership sessions including bible study, developing vision, mission and goal statements, and communication skills. As a result, the women who participated in the sessions were inspired to equip themselves using the resources provided.
The researcher evaluated the effectiveness of the project by utilizing a combination of qualitative and quantitative methods. This project utilized Stacy Floyd-Thomas' qualitative method of 'historiography' to understand the other women's voices used to undergird the project. The quantitative method explored statistical data conducted in pre/post surveys as it relates to the program participants. Additionally, the researcher used qualitative methods to dialogue with the women participants.
The results of the project suggest that the women who participated in the project had a better understanding of leadership; and felt that they would use their skills in the near future. It was concluded that many of the participants experienced transformation.
We will be better equipped for future leadership opportunities when we understand the many obstacles women face such as sexism in the church, cultural differences and inner struggles through various expected roles.
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Heald, Leslie S. "History and preservation of stained glass in the Pacific Northwest : the Povey Bros. Glass Co. of Portland, Oregon /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p1397797.
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Thesis (M.S.)--University of Oregon, 1999.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 189-195). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p1397797.
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Daunton, Claire Hilda Gabriel. "The Patronage and Iconography of Stained Glass in Late Medieval Norfolk : An Historical Analysis." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518351.
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Farrell, Bethany Megan. "Gems for Her Crown: The Stained Glass Drum Oculi of Santa Maria del Fiore." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/233293.
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Art HistoryM.A.
The literature on the stained glass windows installed in the eight oculi of the drum of Santa Maria del Fiore are mainly found in the monographs of the four artists that provided the cartoons--Donatello, Lorenzo Ghiberti, Paolo Uccello, and Andrea del Castagno. Few studies have focused on the program in its entirety. This thesis will attempt to provide a more thorough understanding of the program. Analysis of the primary documents reveals how the windows functioned as part of the building and its liturgical and public life. In particular, the central argument is that Donatello's Coronation of the Virgin was a substitute for an altarpiece and the seven other windows act as subsidiary scenes that reinforce the primary window and its political and theological agenda.
Temple University--Theses
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Zimmer, Janet Marie. "Stained glass cantatas a phenomenological study of adjunct faculty participating in a community-building experience /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3477.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: Education Policy, and Leadership. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Jones, Elizabeth B. "Pixilated stained glass : a fantasy theme analysis of online and face-to-face Christian community." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371202.
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This thesis investigates how two Christian communities — differentiated primarily by their medium of communication — characterize and cast Christian community. The method of fantasy theme analysis was used to explore this thesis's central research question; namely, are content differences present in the ways in which face-to-face and digital communication systems characterize and cast the Christian sense of community? After an analysis of St. Pixels Church of the Internet (digital communication) and St. Luke's United Methodist Church (face-to-face communication) it was found that the online community demonstrated a rhetorical vision of koinonia, while the face-to-face community demonstrated a rhetorical vision of ekklesia.Department of Telecommunications
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Bugslag, James. "Antique models, architectural drafting and pictorial space : canopies in northern French stained glass 1200-1350." Thesis, University of East Anglia, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303529.
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Mills, Paula Jayne. "A study of the atmospheric corrosion of mediaeval stained glass windows in the United Kingdom." Thesis, University of York, 1995. http://etheses.whiterose.ac.uk/10858/.
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Nesbit, G. H. H. "Current practice in the field of architectural and autonomous stained glass in Europe and the United States of America." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012955.
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This prodrome sought to define through research, the material. composition, historic foundations, significance and technical development of glass as a window-glazing material for ecclesiastical, and later secular purposes, and examining thus its determining role in the development of architecture. The history and techniques of stained glass, an art-form linked more than any other to the mythology and dogma of the Roman Catholic Church, were traced; its history is thus one with that of the church, rising to its greatest glory during the twelfth and thirteenth centuries, and declining from the late fifteenth to the seventeenth centuries. The iconography of the church was examined, and the development of window and tracery types discussed through reference to pertinent examples on both sides of the English Channel. Subjects, stylistic and technical factors, sources of reference, ecclesiastical influences, were all within the context of social and political history . viewed. Intro., p. 1-2.
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Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.Department of Architecture
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Hampson, Louise. ""Casting a dim religious light" : the stained and painted glass of York Minster, c.1450-1802." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/20388/.
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This thesis investigates the glass history of the stained and painted glass in the windows of York Minster c.1450-1802. It sets the largely post-Reformation story of the windows into the broader historical context of York and cathedrals more widely, and of the survival of the craft of glass-painting in the post-Reformation period. It uses the archives and manuscripts of the Dean and Chapter of York, in conjunction with antiquarian studies and the physical evidence of the extant glass, to explore how and why so much medieval glass has survived in York and to investigate the origins of York’s claim to be a ‘treasure-house’ of medieval stained glass. Three key themes are explored in the course of this work. First, a reassessment of the craft practice and skills base of glaziers and glass-painters and the continuity of workshops in the period studied, with particular emphasis on the sixteenth and seventeenth-centuries. Second, the question of patronage and how this was manifest, both in terms of the craftsmen and their business models and with regard to the care of the existing glass. A broader definition of patronage emerges, one which goes beyond conventional ideas of artist and patron into the relationships between the Deans, their Chapters and the craftsmen. Third, a consideration of how the glass was thought of, valued and written about. This focuses on the work of seventeenth-century antiquarian James Torre and the publications by Drake and Gent which followed his pioneering work. It also explores the reception and perception of the Minster generally and the intellectual and cultural influences operating within York itself and society more widely. This thesis demonstrates how the undertaking of close and detailed analysis of the archival and other documentary records alongside the surviving glass of a single cathedral can produce new insights and understanding. These themes set out a new methodology for approaching the comprehensive contextual study of the glass history of other cathedrals and create a better understanding of glass-painting in England in the sixteenth to eighteenth centuries.
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Bishop, Christine Elizabeth. "Light and Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1951.
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Nunes, Ricardo Ferreira. "Vitreorum Ministerium: o didatismo dos vitrais medievais, história e linguagem visual - os vitrais da Yorkminster." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-13122012-102204/.
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Este estudo pretende demonstrar a relação entre os meios visuais e a transmissão de conhecimento por meio da linguagem visual. A partir de uma análise feita em diversos vitrais existentes em Catedrais da Idade Média nota-se que a linguagem visual ocupou um papel especial no ensino do homem medievo. Serão estudadas as diversas figuras simbólicas existentes nos vitrais e como se tornaram instrumento para a transmissão de conceitos históricos, sociais e religiosos, no ambiente medieval das catedrais. Considera-se a história do período compreendido entre o final da Alta idade média e durante a Baixa idade média no que diz respeito ao ambiente religioso e sua importância na transmissão de conhecimento ao homem medieval. A história dos vitrais, sua origem, seus usos e como vieram a ser incorporados às construções das Catedrais Medievais, estudando um caso específico: Os Vitrais da Catedral de York um dos maiores acervos de vitrais em catedrais medievais. O propósito da pesquisa é relacionar elementos artísticos da arquitetura, no caso os vitrais, com o processo de transmissão de conhecimento no ambiente medieval, isto com o auxílio da História como interface principal. Objetiva-se também o estudo onomástico e toponímico do espaço da Catedral, importante para a compreensão do estudo dos vitrais como meio linguístico.This study aims to demonstrate the relationship between visual media and transmission of knowledge through visual language. From an analysis of several existing windows in cathedrals of the Middle Ages is noted that the visual language has occupied a special role in the teaching of medieval man. Will be studied several existing symbolic figures in the windows and how to become an instrument for the transmission of historical concepts, social and religious environment of medieval cathedrals. This research analyzes the story of the period between the end of the High Middle Ages and during the Low Middle Ages with regard to the religious environment and its importance in the transmission of knowledge to the medieval man. The history of stained glass, its origin, its uses and how they came to be incorporated into the buildings of the Medieval Cathedrals, studying a specific case: \"The stained glass of York Minster\" one of the largest collections of stained glass in medieval Cathedrals. The purpose of the research is to relate the artistic elements of architecture, where the stained glass windows, with the process of transmission of knowledge in medieval environment with the aid of history as the main interface. It also aims to study the onomastic and toponymic space of the cathedral, important for understanding the study of stained glass as a medium language.
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Lozano, Cajamarca Alba Fabiola. "Innovations des techniques verrières au XIXe siècle et leurs applications dans la réalisation de vitraux." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0911/document.
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Á la fin du XVIIIe siècle, la technique du vitrail est menacée de disparition en France. En réaction, les tentatives en vue de retrouver les procédés de cet art se sont multipliées, aussi bien dans le milieu artistique que scientifique. Le but de cette thèse est de faire le point sur les avancées technologiques mises en œuvre pour la réalisation de vitraux au XIXᵉ siècle à travers l’étude de l’ensemble des brevets déposés au XIXᵉ siècle concernant les techniques de fabrication et de décoration du verre. Par l’étude de ces brevets, nous avons pu montrer que ces innovations ont été les plus nombreuses dans la seconde moitié du XIXᵉ, en relation avec la montée de la demande en vitraux. Les innovations sont de deux ordres : d’une part celles concernant la fabrication du verre et de verres spéciaux (coloré, opalescent, irisé, etc.), d’autre part celles concernant les techniques de décoration du verre (peintures vitrifiables, procédés de gravure et procédés d’impression). Les peintres verriers ont été des acteurs actifs pour le développement de ces innovations, comme en témoignent les brevets qu’ils ont déposés et les vitraux qu’ils ont réalisés avec ces nouvelles techniquesAt the end of the eighteenth century, the technique of stained glass was endangered in France. In response, attempts to rediscover this art process increased in both the artistic and scientific communities. The purpose of this thesis is to determine the technological advances for making stained glass that were implemented during the nineteenth century through the study of all patents submitted at this time for techniques of glass manufacture and decoration. By studying these patents, we have shown that these innovations were the most numerous in the second half of the nineteenth century, in connection with the rise in the demand for stained glass. Innovations are twofold: firstly those related to the manufacture of glass and special glass (colored, opalescent, iridescent, etc.); secondly those concerning glass decoration techniques (enamels, printing and engraving processes). Glass painters were active players in the development of these innovations, as evidenced by the number of patents they filed and the amount of stained glass work they produced with these new techniques
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McDade, Carrie Leah Ziskin Rochelle. "The discourse of identity John La Farge's stained glass windows for Congregation B'nai Jehudah, Kansas City, Missouri /." Diss., UMK access, 2004.
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Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2004."A thesis in art history. Typescript. Advisor: Rochelle Ziskin. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 139-153). Online version of the print edition.
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Burns, David Paul. "Building the stained glass prism the development of the Polish Catholic Church's electronic media properties, 1989-2003 /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2057.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.Thesis research directed by: Journalism. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Vertrees, Stephanie N. "Removing the stained-glass ceiling : the communicative practices of the Church of the Nazarene women senior/solo pastors." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347738.
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The purpose of this study was to identify the communicative practices of women senior/solo pastors in the Church of the Nazarene. Orbe's (1996, 1998a) Co-cultural theoretical framework was employed to analyze the data gathered from 10 semi-structured, in-depth interviews, which identified seven communication orientations that the women senior/solo pastors in the study employed to advance and work within the denomination. Specific communication practices in each orientation were identified and explained. Additionally, through a grounded theory approach this research added to the Co-culture theory by identifying a new censoring practice—humor--expanding the use of existing practices, and clarifying the definition— "intragroup" networking. Finally, the results, the implications, and future research were discussed.Department of Communication Studies
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Žuramskienė, Eglė. "Sovietinio vitražo likimas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_155250-29366.
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Po nepriklausomybės atgavimo, daugelį pastatų privatizavus, atsirado grėsmė juose esantiems dailės kūriniams. Svarbus yra ir visuomenės požiūris į sovietinį, mums svetimą, paveldą. Vitražai išmontuojami vien todėl, kad primena praeitį. Be politinių aspekto, Sovietinio paveldo išlikimą lemia ir ekonominiai veiksniai. Daug kur vitražai išmontuoti renovuojant pastatus ir teisinantis, kad jų restauracijai trūksta lėšų.
Nors sovietmetis tituluojamas lietuviško vitražo „aukso amžiumi”, dabartinė šio laikotarpio kūrinių padėtis sudėtinga. Pradėjus išsamiau domėtis sovietinio vitražo dabartine būkle susiduriama su medžiagos trūkumu.
Renkant medžiagą apie sunaikintus, restauruotus vitražus iškilo ir paveldo apsaugos klausimas. Kaip ir kiek sovietinį paveldą įstatymais gali apsaugoti valstybė ir ar gali tuo pasirūpinti pats darbų autorius.
Pirmoje darbo dalyje aptariamas sovietinis vitražas ir jo klestėjimo prielaidos, trumpai supažindinama su tuo metu kūrusiais vitražistais, jų ryškiausias darbais. Išskiriamos dvi pagrindinės prielaidos: valstybiniai užsakymai ir glaudus architektų bei vitražistų bendradarbiavimas. Pateikiama ryškesnių to meto architektų ir vitražistų bendradarbiavimo pavyzdžių.
Antroje darbo dalyje aprašomi sovietinių vitražų sunaikinimo, rekonstravimo, perkėlimo atvejai. Pateikiama sunaikintų, rekonstruotų vitražų pavyzdžių. „Išlikusių vitražų pavyzdžiai ir objektyvios jų išlikimo sąlygos. Nagrinėjamos vitražo sunaikinimo priežastys.
Trečioje darbo... [toliau žr. visą tekstą]A lot of public places there privatized after the restoration of independence in Lithuania. A real threat occurred for monumental artworks in architecture after the biulding was privatized. In this situation a public opnion about soviet heritage is really important. Despite the political aspect, there is economical factors as well. Stained glass windows, can’t be fixed because of lack of finance. Though soviet times in Lithuania was „golden age“ for stained glass it has real preservation problem in nowdays. There is a lack of information about these days soviet stained glass situation. The first part of this work contains short history of soviet stained glass and the sources of prosperity. There was two main assumptions for prosperity of stained glass in soviet times: first was orders from soviet goverment and the second was artist and architectures cooperation. The exposition part is illiustration about stained glass destruction, and real situation of soviet stained glass in these days. The final part of the work is about the heritage of soviet art works and preservation of stained glass.
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Betts, Edmund John. "The new East Window of St Martin-in-the-Fields Church, London : a window of opportunity for developing ordinary theology through a visual image." Thesis, University of Chester, 2014. http://hdl.handle.net/10034/611402.
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Ordinary theology is a developing concept focusing on people’s explicit religious beliefs, and relying on anecdotal evidence and other academic writers to bridge the gap with academy theology. It has influenced empirical studies of ordinary people’s experience with the Bible, doctrine and cathedral visiting. A feminist qualitative ethnographic study and action research provide other voices as alternatives to this empiricism. Theologians-in-the-arts have appropriated art to illustrate their academic theology. This thesis takes further the use of a visual image, with a recently commissioned non-figurative designed window, by a female Iranian-born artist, in an well-known London church. It enquires how far a non-specific doctrinal and non-narrative window encourages wider public participation in meaning making and metaphor generation, challenging the current static concept of ordinary theology. An interpretative paradigm with perspectives from constructivism, phenomenology, and hermeneutics shapes an inductive and qualitative approach to give attention to regular worshippers and visitors. A visual ethnographic method elicits data through semi-structured questionnaires, interviews, and journal writing. Adopting a ‘lay’ outsider participant role during the fieldwork, unstructured situational interviews with passers-by, street traders and church staff were also undertaken. Interpretive lenses of framing, the pastoral cycle, ethnomethodology, and nitty-gritty hermeneutics assisted in analysing the data. The window attracted a high degree of participation, engaging people in reflection. Over 85% of participants were professional/university and technically educated and competent in academic disciplines other than theology. The respondents initially made non-religious statements challenging ordinary theology, which focussed on explicit religion. When respondents viewed it a second time, they used religious concepts. The analysis led to the construction of ordinary portraits constructed of previously not heard voices and challenged the earlier faces of academic partners. The window is a dialogically framed ‘lived experience’ breaking the ‘is’ of metaphor and the gestalt law of closure. This research explores the ‘is not’ of metaphor. It explores the relationship of image, metaphor and concept by focussing on window parts; the images of centre, line and web. The window becomes both a working metaphor and a model of working metaphors extensively used by these participants. Ordinary theology discovers through feminist metaphorical theology that concepts are metaphorical, focusing on both dissimilarities and similarities. The window as a visual image provides an opportunity to extend the concept and metaphor of ordinary theology. It invites academic professionals to an intensive fieldwork experience using a visual image to rediscover a general process of reflection and to reveal people’s indirect and implicit metaphorical ordinary theology.
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Hunault, Myrtille. "Rôle des éléments de transition (Co, Cu) dans la coloration des verres : application aux vitraux du moyen âge." Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066315/document.
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Cette thèse s'inscrit dans le cadre de l'étude des relations entre structure et propriétés des verres. La coloration des verres par les métaux de transition en est une des plus belles illustrations et sa compréhension constitue une étape fondamentale de l'étude des vitraux du Moyen Age. L'opportunité unique de la dépose des vitraux du XIIIe siècle de la Sainte-Chapelle de Paris a permis d'appliquer la démarche multidisciplinaire développée dans cette thèse pour comprendre la coloration des verres.Dans le au cas des verres bleus colorés par Co2+, ce travail a nécessité une démarche s’appuyant sur la spectroscopie fondamentale combinant des méthodes expérimentales (XANES et EXAFS au seuil K du cobalt et spectroscopie d'absorption optique) et théorique (calculs multiélectroniques dans l'approche en champ de ligand des pré-seuils K), pour mieux comprendre l'environnement local du Co2+ dans les verres. L'influence de la symétrie locale du site de Co2+ sur l'hybridation p-d et sa signature spectroscopique a été montrée grâce à des références cristallines. Les espèces penta-coordonnées ont pu alors être identifiées dans des verres modèles, nous permettant de proposer des modèles structuraux impliquant plusieurs espèces. Les proportions relatives de ses espèces sont contrôlées par les capacités de compensation de charge des cations du verre.Les deux principales nuances de bleu des verres du XIIIe siècle de la Sainte-Chapelle de Paris sont dues à Co2+ et Fe2+ tandis que le cuivre, également présent, est majoritairement monovalent et incolore, preuve des conditions réductrices de fabrication des verres de cette époqueThis thesis is part of the general framework of the study of structure-properties relationships in glasses. Understanding the coloring properties of transition metal ions in glass is an essential step in the study of Middle Age stained glass windows. The restoration work of the 13th century stained glass windows of the Holly Chapel of Paris provided a unique opportunity of apply the multidisciplinary approach of the question of glass color.In the particular case of blue glasses colored by, this study relied on a fundamental approach based on experimental (optical absorption, K-edge XANES and EXAFS spectroscopies) and theoretical tools (ligand field multiplet calculations of the pre-edge), to understand the local environment of Co2+ in glasses and the spectroscopic signature of Co2+ in unusual sites.The influence of the point group symmetry of Co site on the p-d hybridization and Co2+ spectroscopic signature was defined by comparison with crystalline references. Five-fold coordinated species have been identified in model glasses of simplified composition. This provided structural models based on 4-, 5- and 6-fold coordinated Co species for borate glasses and 4- and 5-fold coordinated Co species for silicate glasses, which are controlled by the charge compensating properties of the glass cations.Eventually, two main shades of blue have been identified in the 13th century glasses from the Holly Chapel of Paris, attributed to Co2+ and Fe2+, while, copper although present, mainly occurs as colorless Cu+, as a proof of reducing melting conditions. This provides first insights into the Middle Age glass manufacturing process
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Merchant, Sean Robert. "Tending the Broken Window." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493285369498883.
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Ferrand, Jessica. "Le phénomène de brunissement des vitraux médiévaux : critères d’identification et nature de la phase d’altération." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1174/document.
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Les vitraux du Moyen Âge, dont les pièces de verre contiennent du manganèse, sont fréquemment atteints d'une pathologie communément appelée «brunissement ». Ce phénomène, qui se traduit par la présence de taches brunes riches en manganèse en surface ou subsurface du verre limitant le passage de la lumière et gênant la lisibilité de l'œuvre, est peu documenté et son occurrence parmi les vitraux n'est pas précisément connue. Un des problèmes majeurs pour ce qui concerne la conservation/restauration des œuvres est l'absence de traitements efficaces et durables pour cette pathologie. En France actuellement, l'absence de traitement est donc préconisée, ce qui ne satisfait ni les architectes, ni les conservateurs, ni les restaurateurs. La connaissance approfondie des processus physico-chimiques à l'origine du phénomène de brunissement est donc nécessaire pour proposer des réponses aux questions et aux attentes des conservateurs/restaurateurs. Au cours de cette thèse un panel de 24 échantillons de verres de vitraux historiques et de 3 échantillons archéologiques ont été étudiés par des méthodes microscopiques et spectroscopiques afin i) d'établir des critères d'identification du phénomène de brunissement dû au manganèse et ii) d'obtenir des informations sur la nature des phases brunes et sur le degré d'oxydation du manganèse dans ces phases. Parallèlement à l'étude des échantillons anciens, des verres modèles de composition proche de celle des vitraux médiévaux ont été synthétisés avec deux objectifs : i) la compréhension de la réaction entre le manganèse et le fer et de l'influence des paramètres de fabrication sur la couleur des verres et ii) l'étude de l'influence que peuvent avoir les bactéries dans le développement du phénomène de brunissementThe medieval stained glass windows, which glass composition contain manganese, are often affected by an alteration commonly designated as "browning". This phenomenon results in the presence of Mn-rich brown spots at the surface or subsurface of the glass thus limiting the passage of light and hindering the interpretation of the artwork. Poorly documented, the occurrence of browning among stained glass windows is not precisely described. Currently, one of the major problems in terms of conservation and restoration is that long-term treatments are not available. In these conditions, the recommendations are not to treat the affected glasses, a solution that satisfies neither the architects nor the curators, nor the restorers. In order to answer the questions and expectations of curators and restorers the comprehension of this phenomenon is essential. In this work, a panel of 24 historical and 3 archaeological stained glass samples were studied by microscopic and spectroscopic methods in order to i) establish reliable criteria for identifying the browning phenomenon due to manganese and ii) obtain information on the nature of the dark phases and the oxidation state of manganese in these phases. In parallel with the study of ancient samples, synthetic glasses with medieval-like compositions were synthesized for: i) understanding the reaction between manganese and iron, as well as the influence of the process parameters on the color of glasses and ii) studying the influence of bacteria in the development of the browning phenomenon
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Magelinskaitė, Vilma. "Modernaus lietuvių vitražo ir architektūros sąveika kompozicinių sprendimų aspektu." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130731_125014-63287.
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Magistrinio darbo teorinėje dalyje nagrinėjama Lietuvos moderniosios architektūros ir vitražo tarpusavio ryšys, bei priklausomybė vienas nuo kito. Nuo XX a. 6-ojo dešimtmečio Lietuvoje užsimezgęs glaudus architektūros ir vitražo ryšys, kai vitražas tapo neatsiejama architektūros dalis, šiandieninėje visuomenėje yra visiškai pakitęs. Remiantis modeliuojamomis meninės raiškos priemonių atžvilgiu, darbe trumpai apžvelgiama architektūros ir vitražo raida nuo XX a. 6-ojo dešimtmečio iki šių dienų. Pateikta glausta apžvalga indentifikuoja vitražo priklausomybę nuo architektūrinių formų bei tendencingą jo kitimą priklausomai nuo vyrayjančių meno srovių šioje meno srityje. Tai pat pateikiami besikeičiančių meno srovių architektūros ir vitražų darbų pavyzdžiai Lietuvoje.
Pagrindinę magistro teorinę dalį sudaro dvi architektūros ir vitražo simbiozės analizės, kurios nagrinėjamos formaliaja metodika. Pagrindiniu aspektu traktuojami kompoziciniai sprendimai ir jų poveikis bendrai meninei sąveikai. Analizuojami du visuomeninės paskirties architektūros objektai, kuriuose integruoti Lietuvos vitražistų stiklo darbai: Vilniaus Santuokų rūmų ir Eugenijaus Konstantino Šatūno stiklo darbai bei Nidos Švc. Mergelės Marijos krikščionių pagalbos bažnyčios ir Algirdo Dovydėno vitražai. Analizuojant dviejų meno šakų darnią simbiozę, dėmesys akcentuojamas į kompozicinę plastiką, jos tarpusavio panašumus ir skritumus, kurie turi įtakos lygiaverčiui architektūros ir vitražo užmegztam „pokalbiui“... [toliau žr. visą tekstą]In the theoretical part of the work the main attention is put on the relation between modern Lithuanian architecture and stained glass. The work analyses how these two art forms influence and complement each other. From the 1950s stained glass became the integral part of architecture but nowadays this connection is completely changed. The main focus of the work is to show the evolution of architecture and stained glass from 1950s until today by analyzing formal elements, aesthetic principles and symbolic signs. The analysis represents stained glass dependence on architectural forms and dominant art tendencies. Various works of architecture and stained glass in Lithuania are also discussed as examples of these tendencies. The main theoretical part of the work is dedicated to analysis of symbiosis between architecture and stained glass from formal perspective. Firstly, the analysis deals with compositional solutions and their effect on general artistic interaction. The base of analysis are two buildings created for public use: Vilnius Santuokų rūmai and glass work by Konstantinas Šatūnas, Saint Mary Church in Nida and stained glass works by Algirdas Dovydėnas. Analysing the relation between two art forms, the emphasis is put on compositional expression, its differences and similiarities that influence the conversation between architecture and stained glass. The analysis is based not only on information found in specific literature and other sources but also on personal remarks... [to full text]
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Silva, Pedro Redol Lourenço da. "Os vitrais dos séculos XV e XVI do Mosteiro de Santa Maria da Vitória-estudo sobre o seu significado cultural e artístico, e sobre a sua conservação." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 1999. http://dited.bn.pt:80/29121.
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Wertheimer, Mariana Gaelzer. "A arte vitral do século XX em Pelotas, RS." Universidade Federal de Pelotas, 2011. http://repositorio.ufpel.edu.br/handle/ri/1050.
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Previous issue date: 2011-07-01In order to understand the manifestation of the stained glass art of the XX century in the city of Pelotas, it was necessary to acknowledge its general aspect, its evolution and historical processes, its technological and composing characteristics, as well as its degradation process. It was possible to identify thirteen stained glass examples in the central area of the city of Pelotas using a methodology of instrumental survey of cadastral records. The stained glass examples were analyzed according to formal and technological characteristics, and also aspects regarding its conservation and changes caused by the passage of time or by human intervention. The analysis showed different types of stained glasses considering either its iconography or its technological aspect. This survey of thirteen examples of stained glass carried out in the city of Pelotas showed that they represent the economic and cultural power of the city. Although there is a large gap it is possible to consider that the stained glasses represent a cultural manifestation with European influence although not related to the Portuguese tradition. As a symbol of economic and cultural progress of the city, its manufacture has not been very much changed through the years. The religious stained glasses identified date back to the medieval tradition, they represent the narrative and the mark of their donor. The profane ones have decorative characteristics representing floral or bucolic motifs related to the New Art tradition and the movements of Applied Arts
Para compreender a manifestação da arte do vitral do século XX na cidade de Pelotas, foi necessário conhecê-la em seu aspecto geral, seu processo evolutivo, histórico, suas características tecnológicas e compositivas, assim como seu processo de degradação. A partir de uma metodologia de levantamento instrumentalizado com fichas cadastrais, foi possível identificar treze exemplares de vitrais na zona central da cidade de Pelotas. Os exemplares foram analisados quanto as suas características formais e tecnológicas e, também, quanto aos aspectos de conservação e alterações causadas pela ação do tempo ou pela intervenção humana. A análise permitiu identificar diferentes tipologias de vitrais, que r seja sob o olhar tecnológico quer sob o olhar iconográfico. O levantamento dos exemplares de vitrais pelotenses, feito nesta pesquisa, mostrou serem estes representativos do poder econômico e cultural da cidade e que, apesar de grandes lacunas, pode-se considerar que estes representam uma manifestação cultural com influência europeia sem, no entanto, se vincular à tradição portuguesa, e que, sendo um símbolo de progresso econômico e social da cidade, sua manufatura pouco se alterou desde as suas origens. Os vitrais religiosos identificados remontam à tradição medieval da narrativa e da presença da marca dos doadores. Os vitrais profanos trazem características decorativas representando motivos florais ou bucólicos, vinculados à tradição da Arte Nova e dos movimentos de Artes Aplicadas
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
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This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.Department of Architecture
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Harrison, Katherine. "Putting the stained glass window back together : helpful and unhelpful aspects of psychological therapy with women with breast cancer : a grounded theory analysis." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/putting-the-stained-glass-window-back-together-helpful-and-unhelpful-aspects-of-psychological-therapy-with-women-with-breast-cancer-a-grounded-theory-analysis(d890be65-b264-4c1d-8ea2-cf0e035b44e2).html.
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The purpose of this study was to identify what women with primary breast cancer found helpful and unhelpful in psychological therapy. In-depth qualitative interviews were conducted with eleven women who had been supported post diagnosis, with psychological therapy. The women were, in the main, recruited from the Breast Cancer Voices network, set up by the national charity Breast Cancer Care. Data was analysed using Grounded Theory Analysis (GTA), from a social constructionist perspective. The women identified a range of helpful aspects in therapy: They all discussed their context, being thrown into the breast cancer world and analysis identified three helpful conditions; having the psychological need recognised by others, having easy access to ongoing flexible therapy and valuing the therapist's personal qualities. Three helpful interactions were identified; being enabled to express self safely, being treated as an individual whole woman and accessing the therapist's inner self. In addition, two helpful actions were identified, being helped to empower self and being taught new coping skills. The key theme was being helped to put active self back together again, which was the consequence of the therapy process. Analysis identified two unhelpful conditions, not having easy to access therapy and the therapist's personal qualities being cold and harsh. Two unhelpful interactions were also identified, being unable to express self safely and not being treated as an individual. One unhelpful action was identified, the therapy being too short. The consequence, when therapy was not set up in the right way, was that the women were re-traumatised and remained shattered. Whilst sample size was small, nevertheless the aim of generating rich in-depth data was fulfilled. The findings have theoretical implications: Treating women as whole individuals, helping the women learn individual coping skills from a pluralistic perspective and helping to empower women can be as important as the medical care. The methodological implications are experiencing a therapeutic effect of research participation, valuing the women as active co-researchers, ethically considering participant benefits alongside risks and using GTA from a social constructionist philosophy helped to understand individual experience and at the same time that breast cancer is socially constructed. The practical implications are: Referral pathways to identify women who need psychological support, a safe therapeutic space to express real fears, normalising experience post breast cancer diagnosis and putting in place a flexible therapy contract are all vital to support women with primary breast cancer.
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Romero, Martínez José María. "Eduard Maria Balcells i Buigas. Un arquitecte de darrera generació modernista al Vallès Occidental." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/385927.
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La tesi “Eduard Maria Balcells Buïgas. Un arquitecte de darrera generació modernista al Vallès Occidental” pretén abordar la producció de l’arquitecte i contextualitzar-la des d’una doble perspectiva. Per una banda destacant la rellevància que va tenir des d’un vessant local i comarcal pel que fa a la difusió del modernisme i dels successius moviments arquitectònics. L’estudi de la seva trajectòria, les obres i diverses tipologies i camps als què es va dedicar han de permetre també definir les possibles aportacions de Balcells, l’interès de la seva producció i el paper que li correspon dins de l’arquitectura catalana. En aquest sentit el vitrall té una gran transcendència i el reconeixement de la seva autoria en obres de gran rellevància és un dels objectius prioritaris d’aquest treball.
Eduard M. Balcells Buïgas (Barcelona 1877-1965) pertany a la darrera generació d’arquitectes modernistes. Obtingué el títol el 1905 i el mateix any guanyava la plaça d’arquitecte municipal a Cerdanyola. Va centrar la seva producció a la ciutat de Barcelona i al Vallès, principalment a Cerdanyola i Sabadell. Balcells és testimoni dels diferents corrents arquitectònics de començaments de segle XX que es van anar imposant a Catalunya. La seva producció es pot dividir en cinc períodes marcats per opcions estilístiques ben diferenciades: la primera etapa modernista (1905-1910), de la desclosa centreuropea a la irrupció del noucentisme (1910-1919), noucentisme regionalisme i modernitat (1920-1936) i monumentalisme i academiscisme eclèctic de postguerra (1939-1959). Si durant l’època modernista Balcells s’havia caracteritzat per la síntesi de models internacionals, el període de maduresa representarà el trencament amb els seus inicis i la recuperació de l’arquitectura vernacla i el classicisme.
El més personal de la seva trajectòria coincideix amb el període modernista on s’integra dins la darrera generació d’aquest moviment. Els primers anys es caracteritzen per una gran originalitat, la profusió de recursos decoratius i un cert orientalisme. Balcells assimilarà el llenguatge dels arquitectes catalans que el precediren, tot incorporant trets molt personals que caracteritzaran la seva producció més destacada. Destaquen obres com la Casa Tosquella, la Casa Mestres, la Casa Gual i la Casa Lluch, la majoria dins la tipologia de torre d’estiueig. Durant la segona dècada del segle XX la producció de Balcells denota una gran influència de models centreuropeus, que el durà a abandonar definitivament la personal interpretació del gòtic per endinsar-se en un modernisme de simplificació geomètrica. Al llarg d’aquesta etapa, i arran del seu matrimoni amb Eugènia Gorina, realitzarà nombrosos edificis industrials i panteons a Sabadell. Destaquen el projecte del Lawn Tennis del Turó, el conjunt de vitralls de la Casa López (actual Museu d’Art de Cerdanyola), la Casa Carles Balcells, la Fàbrica Sampere, la Fàbrica Sallarés Deu, el Despatx Genís i Pont, la Fàbrica “La Pureza”, el Panteó Carol i el Castell de Rocabruna. Cap el 1920 l’obra de Balcells experimentarà un gran canvi amb l’adopció de les propostes classicitzants del noucentisme. Durant els primers anys d’aquesta etapa, Balcells es decanta per un classicisme modern. Per altra banda, entre finals dels anys vint i els primers trenta, la influència del racionalisme i l’art déco, s’evidencien en obres com la Fàbrica Rocalla, el projecte de Biblioteca de la Caixa de Sabadell i els pisos Benages. Per aquells anys, s’afegirà amb el Pavelló de l’Associació dels Ramaders de l'Exposició de Barcelona de 1929 a la recuperació de l’arquitectura tradicional i el regionalisme. A partir de la Guerra Civil abunden els exemples d’una arquitectura eclèctica que mira cap el passat marcada per l’academicisme i l’arquitectura monumental. Balcells, al final de la seva carrera aconsellava al seu fill l’ús d’un classicisme que no passa de moda, alhora que es penedia de les obres més agosarades de la seva joventut.The thesis titled “Eduard Maria Balcells Buïgas. A latest-generation modernist architect in the Vallès Occidental region” intends to approach the architect's production and set it in a context from a double perspective, emphasising the relevance he had both from a local and regional aspect in connection with the spreading of modernism and the subsequent architectural movements. The study of his career, his works, and the various typologies and fields he devoted himself to should also allow to define the possible contributions by Balcells, the interest in his production and his role in Catalan architecture. In this respect, the stained glass window is of great importance and the acknowledgement of Balcells as the author of very relevant works is one of the main aims of this thesis. Eduard M. Balcells Buïgas (Barcelona 1877-1965) belongs to the latest generation of modernist architects. He graduated in 1905, and he got selected by competitive examination for the post of Council Architect in Cerdanyola in the same year. He focused his production on the city of Barcelona and the Vallès region, mainly on the towns of Cerdanyola and Sabadell. Balcells witnessed the different early 20th-century architectural trends that were becoming popular in Catalonia. His production may be divided in five periods marked by well distinguished stylistic options: the first modernist period (1905-1910), from the burst into the Central European scene to the emergence of Noucentisme (1910-1919), Noucentisme, Regionalism and Modernity (1920-1936), and Monumentalism and Post-War Eclectic Academicism (1939-1959). Over the modernist period Balcells was characterised by synthesising international models, and the maturity period represents a break with his beginnings and the recovery of local architecture and classicism. The most personal period of his career coincides with the modernist period, and he integrates within the latest generation of that movement. His first years are distinguished by a great deal of originality, a wealth of decorative resources and a certain orientalism. Balcells assimilates the language used by the Catalan architects that preceded him, adding a series of very personal features that characterise his most outstanding production. Some of his most distinguished works are Casa Tosquella, Casa Mestres, Casa Gual and Casa Lluch, most of them within the summer house typology. Balcells's production over the second decade of the 20th century denotes a great influence of Central European models, which leads him to definitely abandon the personal interpretation of Gothic art in order to go in depth into a modernism based on geometric simplification. Over this period, and as a result of his marriage to Eugènia Gorina, he carries out numerous industrial buildings and mausoleums in Sabadell. We may highlight Lawn Tennis del Turó, the set of stain glass pieces of Casa López (current Cerdanyola Art Museum), Casa Carles Balcells, the Sampere Factory, the Sallarés Deu Factory, the Genís i Pont offices, the “La Pureza” Factory, Carol Mausoleum and Rocabruna Castle. Around 1920, Balcells's works experience a great change due to the adoption of classicising proposals from Noucentisme. Balcells opts for a modern classicism over the first years of this period. Besides, between the late 20s and early 30s, the influence of rationalism and art déco is evident in works such as the Rocalla Factory, the Caixa de Sabadell Library project and the Benages apartments. While making the Cattle-breeders Association Pavilion built for the 1929 Barcelona International Exhibition, he joins the recovery of traditional architecture and regionalism. After the Spanish Civil War he shows plenty of examples of an eclectic architecture that looks back in history and is marked by academicism and monumental architecture. By the end of his career, Balcells recommends his son using a classicism that does not go out of fashion, while regretting his youth's most ground-breaking works.
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Takeuchi, Teresa Midori. "Harry Clarke e a literatura : da pintura em vitrais à ilustração de livros /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86894.
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Orientador: José Leonardo do NascimentoBanca: Omar Khouri
Banca: Lóris Graldi Rampazzo
Resumo: Esta pesquisa consiste na análise do aspecto literário na produção artística do artesão e artista irlandês do início do século XX, Harry Clarke, e a sua habilidade em lidar com suportes diferenciados ao interpretar plasticamente obras literárias; inicialmente com a pintura em vitrais e, depois, com a ilustração de livros, sem abandonar o trabalho com os vitrais. Partindo do pressuposto de que o artista não é apenas um artesão especializado, mas comprometido com os novos desafios que a sociedade contemporânea apresenta, este texto objetiva apreciar alguns conteúdos que permitam o diálogo próximo entre pintura e poesia, ilustração e diferentes gêneros de obras literárias clássicas, reforçando a idéia de que as artes plásticas e as artes gráficas, interagindo com o texto literário, é um exercício para a leitura do mundo de maneira significativa e ao mesmo tempo lúdica.
Abstract: This research involves the analysis of the literary's aspects of artistic production of the Irish artist and craftsman of the early twentieth century, Harry Clarke, and his ability to deal with different media to interpret plastically literary works; initially with the stained glass and then with the illustration of books, without abandoning the first work. Based on the principle that the artist is not only an expert craftsman, as well as commited to the new challenges that contemporary society presents, this text aims to assess some contents that permit a close dialogue between painting and poetry, illustration and different genres of literary classics, reinforcing the idea that the fine arts and graphic arts, interacting with the literary text is an exercise in order to read the world in a meaningful way and at the same time in a playful way.
Mestre
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Manauté, Benoît. ""Flambe! Illumine! Embrase!" La place de la manufacture de vitrail et mosaïque d'art Mauméjean dans le renouveau des arts industriels franco-espagnols (1862 - 1957)." Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1009/document.
Full textAbstract:
S’appuyant sur la petite structure créée à Pau, en 1862, les Mauméjean, père et fils, réussirent à développer une véritable firme internationale - basée en France (Paris, Hendaye) et en Espagne (Madrid, Barcelone, Saint-Sébastien) - qui, durant près d’un siècle, travailla à l’ornementation d’un nombre considérable d’édifices civils et religieux disséminés dans plus de vingt-cinq pays. Récompensé lors de l’Exposition des Arts Décoratifs et Industriels Modernes de 1925, leur travail fut pourtant, dès les années 1950, décrié, dévalorisé : pour répondre aux critères de la « noble expression artistique » un maître verrier devait nécessairement produire peu, dans une petite structure, avec de petits moyens. L’incroyable quantité de verrières sorties des ateliers Mauméjean contribua à forger le mythe d’une production sérielle, dépourvue de toute valeur esthétique. Malgré de récents apports, les recherches menées dans le domaine du vitrail semblent profondément marquées par cette traditionnelle opposition entre fabrication à grande échelle et artisanat. S’appuyant sur un large catalogue d’œuvres conservées en France, en Espagne ou aux États-Unis, ainsi que sur l’analyse d’un très riche fonds d’atelier, cette étude se propose d’interroger ces modèles de production, tout en réévaluant l’apport artistique d’une manufacture qui, offrant un remarquable exemple de réussite, participa activement au renouveau des arts industriels franco espagnolsThe Mauméjean family, father and sons, managed to develop a real international firm, from the small business they created in Pau, in 1862. For almost a century, this international firm, based in France (Paris and Hendaye) and Spain (Madrid, Barcelona and Saint-Sébastien), worked on the ornamentation of a significant number of both civil and religious edifices, scattered over more than twenty-five countries. Though their work was rewarded during the 1925 Exhibition of Decorative and Modern Industrial Arts, it was also disparaged and depreciated, as early as the 1950’s. Indeed, to meet the criteria of the “noble artistic expression”, a master glazier had to produce small quantities, in a small structure, and with little resources. The incredible quantity of windows realised by the Maumejeans’ workshop contributed to the creation of the myth of a mass production, devoid of aesthetic value. In spite of new contributions, researches made in the field of stained-glass windows seem to be marked by this traditional opposition between mass production and craft production. Relying on a large catalogue of works kept in France, Spain, or even in the USA, as relying on the analysis of a very extensive workshop collection, this study offers to question these models of production, reappraising the new artistic dimension brought by a manufacture which, giving a remarkable example of success, actively took part in the revival of the Franco-Spanish industrial arts