Dissertations / Theses on the topic 'Vitrais'

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.

Nas últimas décadas, vários estudos revelaram que os microrganismos são agentes de deterioração do vidro, sendo que os fungos se destacam com particular relevância. Os vitrais históricos possuem elementos modificadores como Ca, K e Na que os tornam particularmente vulneráveis a agressões ambientais (corrosão) e à corrosão induzida pelos microrganismos. Deste modo, realizou-se um estudo de biodeterioração acelerada através da inoculação de duas espécies de fungos seleccionadas de um caso de estudo (Penicillium sp. e Cladosporium sp.) efectuada sobre amostras de vidro de três variedades (cores), preparadas a partir do estudo da composição de dois vitrais. A alteração das superfícies foi estudada por μ-EDXRF, μ-Raman e μ-FTIR, microscopia óptica e SEM-EDS, tendo-se comparado dois estados iniciais de superfície: superfícies de vidro não corroídas e corroídas. As principais conclusões deste estudo são que: os organismos são capazes de produzir dano morfológico e químico após somente 2,5 meses de incubação em todas as superfícies, independentemente do seu estado inicial de corrosão, quando há condições de elevada humidade relativa e temperatura moderada. A biocorrosão ocorre de forma diferenciada em termos de taxa de e grau de ataque para os vidros das três cores. Verifica-se, ainda, que as amostras de controlo, sem meio de cultura (fonte de nutrientes) desenvolveram colonização biológica ao fim de 4,5 meses num ambiente previamente esterilizado.

Nas duas últimas décadas, o Brasil experimentou profundas transformações sociais. De acordo com os dados da Pesquisa Nacional por Amostra de Domicílios (Pnad), do Instituto Brasileiro de Geografia e Estatística (IBGE), as mulheres tinham 5,2 anos de estudo em 1992, e passaram a ter 7,7 anos, em 2009, registrando-se um aumento de 48,1% (Ipea, 2010). Dados do Ministério do Trabalho e Emprego, divulgados no website Folha_Uol, (2015) demonstram que aumentou a participação feminina no mercado formal de trabalho, embora as mulheres com ensino superior recebessem o equivalente a 60% do salário masculino. Dados do Ipea (Pinheiro, Fontoura, Querino, Bonetti, & Rosa, 2008) demonstram a renda familiar per capita média nas famílias chefiadas por homem branco é de R$ 997,00, ao passo que naquelas chefiadas por mulher negra é de apenas R$ 491,00, ou seja, menos da metade. Algo bem na contramão da propalada democracia racial brasileira. Apesar do aumento do número de mulheres no mercado de trabalho, de acordo com Peggy, Dwyer e Roberts (2004), a agenda de gênero da profissão contábil ajuda o imperialismo, e, com isso \"tem facilitado o projeto imperial norte-americano, uma vez que permite a manutenção de mulheres a um baixo custo\" (p.176), relacionando esse fato com a ideologia da domesticidade. Ademais, Bebbington, Thomson e Wall (1997) concluem que os estudantes de contabilidade mostram uma tendência para um modelo masculino construído ou andrógino, em vez da identidade feminina; o que encontra amparo na teoria da performatividade de Butler (2012), objeto deste estudo. Isso resulta da manutenção de estereótipos, como a ideia de que a atuação contábil é eminentemente voltada para os homens. Com base no exposto, as mulheres podem até estar ganhando o \'jogo de números\', para tanto, arcam com um custo que implica a eliminação ou não evidenciação das características do gênero feminino. Ou seja, cresceu a participação feminina no mercado de trabalho, mas ainda há muitas barreiras, em boa medida subjetivas, estabelecidas via processos de fechamento, conforme foi visto, e que se impõem no percurso de uma mulher que almeja alcançar êxito em espaços de prestígio, independentemente do seu nível de qualificação. O fenômeno conhecido como \"teto de vidro\" representa as várias barreiras simbólicas, impostas sutilmente - por isso ditas transparentes -, mas suficientemente fortes para impossibilitar a ascensão de mulheres aos mais altos postos da hierarquia organizacional. Se observado em termos de mercado, o fenômeno pode ser constatado em diferentes países. Esse cenário leva a acreditar que nesse processo de transformação social, em que são requeridos novos papéis, faz-se necessário revisitar perspectivas sobre identidade sexual, bem como rever a produção e manutenção dos discursos de gênero que dão sustentação a essas novas identidades. No Brasil, conforme dados já relatados, embora tenhamos avançado em termos de qualificação, a mulher ainda sofre restrições para acesso profissional e enfrenta condições desiguais de trabalho e remuneração. Parece existir um conjunto de barreiras reais e simbólicas que impedem as mulheres de ascender profissionalmente. Na área de contabilidade, as mulheres são expostas a discursos e práticas eminentemente machistas. Esses discursos estruturam práticas e reificam a leitura da mulher como incapaz de assumir funções de mais responsabilidade. Diante do exposto, e de um quadro de não acesso das mulheres a cargos de liderança, acredita-se que, em um processo de violência psíquica, o \"discurso contábil\" nega, particularmente à mulher negra - que ao longo de sua vida sofre três tipos específicos de discriminação: por ser mulher, por ser pobre, em sua maioria, e por ser negra - sua identidade como profissional habilitada para o exercício de suas funções, particularmente em espaços de poder e prestígio. Assim, o estudo teve por objetivo investigar se o fenômeno conhecido como \"teto de vidro\" (glass ceiling) está presente nas interações cotidianas, por meio de processos de sexualização e racialização enfrentados durante a trajetória acadêmica de mulheres negras, em contabilidade, no Brasil. Trata-se de uma pesquisa de abordagem qualitativa, a partir de um posicionamento pós-estruturalista, para a qual foram utilizadas técnicas autoetnográficas e de história oral, com dados coletados por meio de entrevistas semiestruturadas, realizadas em profundidade, com professoras egressas de programas de pós-graduação, analisados sob a perspectiva interpretativista. Os resultados encontrados demonstram que o fenômeno conhecido como \"teto de vidro\" também está presente na contabilidade, o que resulta em barreiras específicas do campo. Para chegar a esse resultado, foi preciso superar algumas limitações, sendo a principal a falta de incentivo para o desenvolvimento do estudo, dado o caráter inovador da proposta, em uma área de conhecimento e em um lócusem que os estudos interdisciplinares ainda são a exceção. Obras sobre gênero e raça, até aqui, não foram objeto de estudos na contabilidade no Brasil. No entanto, espera-se que esta pesquisa possa funcionar como uma abertura para novos estudos nessa temática. Com isso, a contabilidade estará agindo diretamente para a promoção da igualdade, rompendo com fechamentos estabelecidos, e, portanto, para a transformação social.
Through the last two decades, our society has experienced profound social changes. According to data from the Brazilian Statistics Bureau (IBGE)\'s Pesquisa Nacional por Amostra de Domicílios (PNAD, the National Household Sampling Survey), women had an average 5,2 years of study in 1992 which grew to 7,7 years in 2009, rising 47% (IBGE apud Ipea, 2010). Data from the Ministry of Labor (MTE, 2013) shows that female participation in the formal job market rose, yet women with higher education degrees still receive only 60% of men\'s salaries as remuneration. Ipea (2011) data on income show that the per capita family income of a family headed by a white man is 997 Brazilian Reais (R$), while for a family headed by an black women is only R$ 491 - that is, less than half that of a white man\'s family, running counter to the oft-heralded Brazilian \'racial democracy\'. In spite of the increase in the number of women in the job market, according to Peggy, Dwyer and Roberts (2004) the gender agenda of the accounting profession facilitates the north-american imperialist project by enabling firms to employ competent female workers at minimal cost; this would be related to the domesticity ideology, that is, the idea that domestic life is the ideal life for women. Further studies such as that of Bebbington, Thomson and Wall (1997) conclude that accounting students tend to express their gender through masculine or androgynous identities rather than feminine, in accordance to Butler\'s (2012) theory of performativity which states that gender roles are performed as a result of social influences. This \'masculinization\' of accounting students results from the upkeep of stereotypes, such as the idea that accounting is eminently male. Based on this, Bebbington et al (1997) conclude that \"women may be winning the \'numbers game\' but at a cost--that cost being the elimination of feminine gender characteristics\". In other words, female participation in the job market has risen, but there are still many barriers - a significant part of which are subjective - established through closure processesand these barriers impose themselves on the path of women who desire to succeed in positions of prestige, regardless of those women\'s qualification level. The phenomenon known as \'glass ceiling\' represents the various symbolic barriers, imposed subtly - thus transparent, like glass - but strongly enough that they prevent women from rising to the higher positions of the organization hierarchy. Observed in market terms, the phenomenon can be found to happen in many different countries around the world. This scenario has led us to believe that in this process of social transformation, in which new roles are required, revising perspectives on gender identity is necessary, as well as reviewing the production and maintenance of the gender discourses that support these new identities. In Brazil, as per previously related data, in spite of the advances in terms of qualification, women still suffer with unequal work conditions and restrictions to professional access. There seems to exist a group of real and symbolic barriers that keep women from climbing the career ladder. In accounting, women are exposed to eminently machist discourses and practices; the former structure the latter and reify the image of women as being unable to assume positions of higher responsibility. In the face of this and of a scenario in which women are denied access to leadership positions, it is believed that black women are particularly denied by the \'accounting discourse\'; discriminated throughout their lives not only for being women, but also for being black and often poor, they are, through a process of psychological violence, denied their identity as professionals enabled to exercise their functions, especially in positions of power and prestige. Thus, the goal of this study is to investigate whether the phenomenon known as glass ceiling is present in day-to-day interactions, in the form of sexualization and racialization processes faced by black women along their academic trajectories in Brazilian accounting. The research follows a qualitative approach from a poststructuralist stance, using autoethnographic and oral history techniques; data was collected through semistructured interviews, realized in depth with PhD/Master professors and analyzed from the interpretivist perspective. The results found show that the glass ceiling phenomenon is also present in accounting, resulting in barriers specific to the field. To reach this result some limitations needed to be overcome, the main one being the lack of incentive to the development of the study given the innovative character of the proposal - especially in a field and in a locus in which interdisciplinary studies are still the exception. Studies on both gender and race have not, until now, been objects of study in Brazilian accounting. However, I hope this research may pave a way for future works in this theme. With this, accounting will be acting directly towards the promotion of equality, breaking through established closures and enabling social change.

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Instituto Presbiteriano Mackenzie
The objective of this research is to understand the symbolic construction of religious stained glass, taking as a case study to Sao Luis Gonzaga Parish in São Paulo. For this, we turn to a historical context in order to locate the origins of the church and its relation to religious art. Through detailed exposition of stained glass through photography, it is perceived as the characters in the story are portrayed in art. Finally, our goal is to question whether the windows preserve the pedagogical principles when they were originally created.
O objetivo dessa pesquisa consiste em compreender a construção simbólica dos vitrais religiosos, tomando como estudo de caso a Paróquia São Luís Gonzaga em São Paulo. Para isso, recorremos à uma contextualização histórica afim de localizar as origens da igreja e sua relação com a arte religiosa. Através da exposição detalhada dos vitrais por meio da fotografia, percebe-se como os personagens da história são retratados na arte. Por fim, nosso objetivo é questionar se os vitrais preservam os princípios pedagógicos de quando foram originalmente criados.

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para obtenção do grau de Mestre em Conservação e Restauro, especialização em Vitral
Em 1999, no decurso da desmontagem de andaimes na Charola do Convento de Cristo em Tomar foram encontrados vários fragmentos de vitral. Em 2009, durante novas intervenções de conservação e restauro na Charola, descobriram-se novos e mais numerosos fragmentos, perfazendo um total de 423. Datando provavelmente de 1510-1518, estes fragmentos terão sido produzidos aquando da campanha de intervenções feita a mando de D. Manuel I no Convento. Neste trabalho os fragmentos foram estudados e comparados com outros objectos produzidos durante a mesma campanha de forma a serem inseridos num contexto artístico, histórico e iconográfico. Paralelamente a estes estudos, os fragmentos foram preparados para exposição, tendo sido feito o projecto da vitrina onde serão expostos. Os fragmentos foram analisados através da técnica de μ-XRF para determinar a composição do vidro, tendo-se chegado à conclusão de que estes possuem uma composição idêntica ao vidro dos vitrais da Capela-mor da igreja do Mosteiro de Santa Maria da Vitória, Batalha. Paralelamente foi ainda desenvolvida investigação sobre a técnica de pintura de amarelo de prata, utilizada em grande parte dos fragmentos em estudo. Para esta investigação foram criadas amostras modelo, tendo como variáveis diferentes composições de vidro e tintas (proporções de compostos utilizados) e ainda temperaturas diferentes. Estas amostras foram analisadas com as técnicas de μ-PIXE e espectroscopia UV-Vis, tendo os resultados sido comparados com o da caracterização feita nos fragmentos de vitral da Charola do Convento de Cristo em Tomar.

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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico
A utilização do vidro na arquitetura de Belém, primeiramente, se restringiu às edificações de grande porte, no final do século XIX, atingido seu apogeu somente no século XX, durante o movimento eclético, constituindo um item de importação. Entretanto, diante da exposição excessiva às intempéries e substituições indevidas, os vidros antigos, gradativamente, vem desaparecendo, sem que seja possível fazer a documentação de tal acervo. No intuito de salvaguardar tal material, o objetivo da pesquisa é analisar tecnologicamente as características físicas e químicas dos vidros e vitrais de edificações históricas de Belém e sua alteração frente ao intemperismo climático ao qual são expostos. Para tanto, foram realizadas análises por microscopia ótica, fluorescência de raios-X e microscopia eletrônica de varredura com sistema de energia dispersiva (MEV/SED), simultaneamente à execução de mapeamento gráfico para diagnóstico de danos de maneira a identificar as patologias mais frequentes no material. Com isso foi possível verificar que os vidros apresentam grau moderado de degradação como espessa camada de sujidade e descoloração, que a película de microorganismos que se desenvolve entre a vedação e a superfície dos vidros é responsável por sua opacidade, a qual gera corrosão moderada e manchas. As análises por FRX indicaram que todas as amostras constituem vidros sódico-cálcicos com teor de SiO2 de aproximadamente 70%. Tais resultados serão fundamentais para subsidiar métodos de conservação e restauração de vidros e vitrais aplicados às condições climáticas de Belém.
The application of glass in Belém’s architecture, at first, was restricted to large buildings, in the late XIXth century, reaching its peak only in the next century, during the eclectic movement, as an import issue. However, face to the overexposure to the weather and improper substitutions, ancient glasses are gradually disappearing, almost being impossible to documentate it properly. In order to safeguard this material, the main objective of this research is to investigate technologically glasses and stained-glasses physico-chemical characteristics from buildings of Belém and its damages caused by weather conditions. Selected samples were characterized through optical microscopy, and scanning electron microscopy with energy dispersive X-ray microanalysis (SEM/EDX), concomitantly with the execution of graphic in order to do damage diagnosis and to identify most frequent pathologies. Therewith it was possible to verify that samples present a moderated level of degradation as considerable deposits of soot and discoloration and that the biofilm which develops at the glass surface is responsible for its opacity, that fact origins moderate corrosion and stains. FRX data revealed that all samples as soda-lime glass with 70% of SiO2. Resulting data will be important to subsidize conservation and restoration practices on historical glasses and stained-glasses according to local weather conditions.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Universidade Estadual Paulista (UNESP)
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.
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.

Orientador: José Leonardo do Nascimento
Banca: 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

Made available in DSpace on 2016-08-26T15:18:43Z (GMT). No. of bitstreams: 1 tese_3708_PDF- Dissertação Os vitrais da catedral de Vitoria ES e seus doadores 1930 1940 Monica C Lima.pdf: 20413697 bytes, checksum: ce257e23115659a88770d609d4634b86 (MD5) Previous issue date: 2009-04-30
O objeto de estudo desta dissertação são os vitrais da catedral de Vitória encomendados e instalados entre 1930 e 1940, doados por famílias, instituições políticas e religiosas de relevância naquele contexto histórico. Temos por objetivo estudá-los entrelaçando as inscrições e as imagens representadas nos vitrais com o universo político e religioso da capital do Espírito Santo naquele contexto. A problemática do trabalho insere-se na questão da ambigüidade das imagens: pretendese demonstrar que os vitrais, dada sua localização e programa iconográfico, querem mostrar a catedral e, consequentemente, a Igreja, como um espaço de conciliação dos interesses dos grupos sociais locais em uma conjuntura de centralização política vivida na interventoria de João Punaro Bley (1930-1943). Naquele contexto marcado por ambigüidades de diversas naturezas, as imagens com as inscrições conciliam o passado e o presente, o sacro e o profano, o político e o religioso. Tais ambigüidades permearam a sociedade capixaba marcada pelo processo de transição para a modernidade entre o final do século XIX e a primeira metade do século XX. Iremos interrogar os vitrais a partir das categorias de localização (topos) e doação para confrontá-las com o pensamento teológico-político hegemônico na época. PALAVRAS-CHAVE: VITRAIS CATEDRAL DE VITÓRIA PODER DOAÇÃO

Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores.
In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study\'s objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman\'s Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.

Dissertação apresentada na Faculdade de Ciências e Tecnologias da Universidade Nova de Lisboa, para obtenção do grão de Mestre em Conservação e Restauro Área de especialização: Vitral
Neste trabalho foi realizado o estudo dos vitrais da nave lateral norte, Capela-Mor e Capela do Fundador do Mosteiro de Santa Maria da Vitória, na Batalha. Teve por objectivo estabelecer os diferentes períodos de produção e envolveu a caracterização material dos vidros, a análise das técnicas decorativas utilizadas e também a identificação das diferentes morfologias de corrosão na superfície do vidro. Foram analisadas amostras de fragmentos originais do século XV e XVI e de fragmentos introduzidos posteriormente ao século XVI e até ao século XX, em diferentes campanhas de restauro. A caracterização das diferentes amostras de fragmentos de vidros foi realizada através de técnicas de análise não destrutivas. A identificação da composição dos vidros foi efectuada por microespectrometria de fluorescência de raios-X por dispersão em energia (μ-EDXRF), que foi complementada com a análise da distribuição dos elementos na matriz do vidro e nas superfícies com amarelo de prata e grisalha, através de espectrometria de raios-X induzidos por feixe de iões (PIXE). Finalmente, a caracterização dos produtos de corrosão foi efectuada por microscopia óptica e espectrometria Raman. A combinação destas técnicas permitiu o conhecimento da composição dos vidros, com os óxidos SiO2, CaO, K2O e/ou Na2O como componentes maioritários, e da grisalha, em cuja constituição foram identificados como maioritários os elementos Fe, Cu e Pb. A presença e distribuição em profundidade da prata e do cobre utilizados na produção do amarelo de prata foram também estudadas. A espectrofotometria de absorção óptica no UV-Vis permitiu o conhecimento dos elementos e dos estados de oxidação e coordenação dos iões metálicos que são responsáveis pela cor em alguns vidros coloridos, sendo os mais comuns, o ferro, o manganês, o cobre e o cobalto. Os vidros estudados podem ser divididos em dois grupos, de acordo com a sua composição: vidros potássicos, originais, produzidos nos séculos XV e XVI, e vidros sódicos, introduzidos nos restauros posteriores, nomeadamente no século XX. A principal diferença observada na composição das grisalhas é o teor de PbO: cerca de 5% da massa nas grisalhas originais e teores superiores a 20% da massa nas grisalhas produzidas no século XX. Simultaneamente, foram identificadas as morfologias de corrosão existentes, através da microscopia óptica e da micro espectrometria Raman, tendo-se identificado a existência de camadas iridescentes, fracturadas e ainda a presença de carbonato de Ca. Estes resultados foram relacionados com ensaios de corrosão acelerados efectuados em vidros potassicos, por imersão em solução aquosa de amostras de vidros potássicos, produzidos com composição semelhante à do vidro do século XV.

Orientador: Jose Roberto Teixeira Leite
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O trabalho conta a história do ateliê pioneiro na fabricação do vitral no Brasil, a Casa Conrado, e registra esta atividade essencialmente artesanal, que se encontra em processo de extinção. Em1874 chega a São Paulo o artesão Conrado Sorgenicht, vindo da Renânia católica, Alemanha. Abre uma pequena oficina onde oferece serviços de pintura de ornamentos, tapeçaria e colocação de vidros para vidraças. São Paulo cresce, a clientela aumenta e o ateliê começa a criar também vitrais. Em1889, é fundada a Casa Conrado, que desenvolveu a atividade do vitral, criando mais de 600 obras espalhadas por todo o Brasil, 144 registradas neste trabalho. Em cem anos de atividade, o ateliê viveu dois períodos áureos, aproximadamente de 1920 a 35, e -de 1950 a 65, quando foram feitos os vitrais mais interessantes. Foi selecionado um grupo representativo de obras, ressaltando aspectos relevantes em cada vitral, como sua implantação no conjunto arquitetõnico e aproximações com a pintura, apontando as principais parcerias dos vitralistas com arquitetos e artistas em cada época. Aanálise destas informações permite o entendimento da artesania do vitral no sentido mais amplo, de como ela se deu no Brasil, e mais especificamente, como foi feita no ateliê Casa Conrado. Ao final explico de forma clara e simples, como se faz um vitral em todas as etapas de sua criação. Apresento uma lista de obras, com alguns dados levantados e confirmados sobre cada uma, e três conjuntos de vitrais com o fichamento completo, o embrião de um Catálogo Geral da Casa Conrado. Este trabalho também deverá apoiar solicitações de tombamento das principais realizações ao Patrimõnio Histórico e Artístico, e contribuir para que este cuidado também seja estendido aos conjuntos arquitetônicos onde o vitral está implantado
Abstract: This work tells the story of pioneer studio of stained glass windows in Brazil, Casa Conrado, and registers this essentially manual activity, which is coming to an end. In 1874, the artisan Conrado Sorgenicht, from the Catholic RhineValley, Germany, arrives in São Paulo. He opens a small studio, where he offers his services in ornamental painting, tapestry and window glass placement. As São Paulo grows, the number of his customers also grows, and he begins to create stained glass windows. In 1889, Casa Conrodo is founded, ond it developed stoined gloss productionin about 600 works all over Brazil,144of which I've catalogated for this work. In one hundred yeors the studio has had two golden periods, approximately from 1920 to 1935, and from 1950 to 1965, when the most interesting stoined gloss windows were made. Here a representative number of such works has been selected. The relevant aspects in each work, as well as its place in architetonic complex and pointing, ond the partnership between stained glass artisons, architects and painters in the different periods hove been pointed out. The onolysis of 011this information leads to an understanding of stained glass window craft in a broader sense, as it took place in Brazil, and, more specifically, in Casa Conrado. At the end, a clear and simple explanation of the different phases of the creation of a stained glass window is given. A list of works with some confirmed data about each of them and three groups of stained glass windows with their complete catalogue, the first items of a General Catalogue of Casa Conrado are also included. This research will also support the request for registering and safeguarding the principal works to the Historical and Artistic Patrimony and contribute that the same care should be given to the present architetonic complexes that present stained glass windows
Mestrado
Mestre em Artes

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Dissertaçao apresentada ao Programa de Pós Graduação em História.

A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo.
This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.

Travail d'une plasticienne, fascinee par l'art nouveau en architecture et bien sur dans le vitrail. - l'introduction - generale - traite egalement du verre considere comme une matiere vivante. Cet aspect est developpee dans le corps du texte. - la fonction historique du vitrail dans l'architecture, completee par une presentation de l'ecole de nancy et de j. Gruber. - illustration de cet art par les representants les plus eminents : peintres, concepteurs de vitraux, architectes. - la presentation et l'analyse de ma propre pratique : realisation de copies, restaurations et creations dont plus recentes
This is the work of a plastic art profesional, fascinated by art nouveau in architecture and naturelly in stained glass work. The introduction - although general - deals as well with glass considered as a living substance. This aspect is developped in the work itself. - historical function of stained glass, completed by an exhibition of the "ecole de nancy" and j. Gruber. - illustration of the art by its most prominet artists : paintors, stained glass designers, architects. - presentation my own practice and exhibition of my works : copies restorations, creations including the most recent ones

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).

Le vitrail se présente comme un support plastique livré au lieu et au temps de la célébration liturgique. A partir des années quatre-vingt, les réponses artistiques, fort diversifiées, vont de pair avec une expérimentation technique de la matière. L'expérience pionnière de Nevers interpelle par l'hétérogénéité des sensibilités. Ces artistes se confrontent souvent pour la première fois, avec sincérité et respect, aux contraintes d'un programme théologique. Le R. P. Régamey s'interrogeait quant à l'introduction de signes manifestes au sein d'édifices religieux. Ce questionnement reste d'actualité. Les rapports entre l'Église et l'État posent les bases d'une conciliation entre les enjeux de mémoire et de modernité. Les artistes contemporains relèvent ce défi dont la difficulté réside dans l'intégration à une architecture religieuse et historique. Une nouvelle lecture s'ouvre alors et un changement d'esprit s'opère
Stained glass can be seen, nowadays, as a support for visual art that is particularly dedicated to liturgical celebration. Artistic responses to this incentive, highly diverse in nature, include a certain degree of technical experimentation with glass since 1980. Meanwhile, many were intrigued by the heterogeneity of artistic sensibilities represented in the pioneering experiment of Nevers. All these artists came up against the constraints of a theological programme, often for the first time, and met them with sincerity and respect. Father Régamey questioned the introduction, through different artistic means of expression, of manifest signs within the religious edifice. These interrogations are still topical today. The relations between Church and State are such that the foundations of a conciliation between issues of memory and modernity may be laid. Each contemporary artist brings a different answer, taking up a challenge whose principal difficulty lies in the integration of work adapted to a religious and historical architecture. A new interpretation is opening up, bringing with it a change of outlook

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.

En depit d'une longue tradition d'etudes sur le vitrail roman, les bordures des verrieres du 12eme siecle restent tres mal connues. Ces bordures se composent d'une succession de motifs analogues formant l'encadrement des vitraux. De nombreux edifices religieux du moyen-age europeen et de nombreuses collections de par le monde detiennent une quantite non negligeable de ces compositions decoratives, fragments isoles ou bordures completes, parfois encore in situ. L'inventaire propose ici offre a la fois l'histoire, la description, la critique d'authenticite, des propositions de datation et des remarques concernant le style des fragments disponibles. Au-dela de la diversite des motifs pris en compte (215 au total), se degage une typologie fondee sur l'examen attentif des compositions, des modes de repetition ou de succession des motifs dans la bordure et de leur disposition au regard de l'axe vertical des verrieres. La mise en evidence de types dont on suivra les correspondances dans d'autres techniques d'art en vogue a cette periode, nous eclaire sur le mode de transmission des motifs et contribue, en relation avec l'etude technique des reseaux de plombs, a montrer que les peintres-verriers ont eu recours a des modeles, communs a plusieurs techniques, et a des "cartons", dont l'utilisation repetee a ete montree surtout pour le debut du 13eme siecle. L'elaboration des motifs prouve que s'opere ici la fusion de sources decoratives tres diverses et une synthese fondee sur une nouvelle interpretation de l'acanthe et la palmette byzantine, et sur la creation de nouveaux ornements vegetaux en etroite relation avec des structures geometriques, en assurant l'encadrement et un vocabulaire decoratif emprunte aux techniques du metal. Cette nouvelle synthese, en depit d'interpretations locales, offre la fidele traduction de l'esthetique "precieuse" du 12eme siecle
Despite a long tradition of studies on romanesque stained glass windows, the borders of 12th century remain very little known. These borders consist of a succession of similar motives making up the frame of the windows. Many european ecclesiastical buildings of the middle ages and many collections around the world include a large number of these decorative compositions, isolated fragments or complete borders, sometimes still in situ. The proposed inventory provides at the same time the history, the description, the diagnosis of authenticity, dating proposals and remarks concerning the style of available fragments. Beyond the diversity of the motives under consideration (a total of 215), one obtains a typology based on an attentive scrutiny of the compositions, of the systems of repetition or succession of patterns on the borders and their disposition in relation to the vertical axes of the windows. The types thus discovered apply to other art techniques in fashion during that period. This casts a new light on the mode of transmission of motives and, along with the technical study of the lead grid, contributes to showing that glass painters resorted to models common to several techniques and to sketches the recurrent use of which has been demonstrated, especially at the beginning of the 13th century. The elaboration of the motives shows a blending of very varied decorative sources and a synthesis based on a new interpretation of byzantine blossom, the creation of organic ornaments in close relation to the geometrical structures framing them and decorative forms borrowed from the art of metalwork. Despite local interpretations, this new synthesis offers a faithful representation of the "precious" aesth

Les impacts de projectiles durs et mous sur les vitrages feuilletes sont etudies. L'ordre d'apparition des reseaux de fissures dans les couches de verre est experimentalement mis en evidence puis interprete avec, notamment, l'aide d'une video rapide. La reponse viscoelastique de l'intercalaire polymerique, qui constitue le cur du vitrage, est identifiee experimentalement, puis modelisee sur un tres large spectre de frequences et un grand intervalle de temperatures. Les approches analytiques et numeriques (elements finis) de modelisation des impacts de corps durs sont confrontees a l'experience et permettent de representer fidelement les pertes et reprises de contacts projectile/vitrage qui sont dimensionnantes, l'effet de la temperature qui est considerable, ainsi que les contraintes et les deplacements en tout point du vitrage. L'etude de l'impact de corps mou conduit a identifier l'effet du projectile sur la structure en vue de remplacer le projectile, dans les modeles numeriques, par un systeme simple de type masse-ressort-amortisseur-patin. La prevision de la rupture du vitrage s'effectue par le biais d'une approche statistique qui s'impose pour le verre. Les parametres qui gouvernent la rupture du verre sous impact sont identifies a partir d'essais de flexion quasi-statique. L'influence de la vitesse de chargement sur les eprouvettes est consideree en raison d'une croissance sous-critique des defauts durant l'essai. Plus la vitesse de chargement est importante, plus le verre parait resistant.

Cette recherche s'inscrit dans le champ de l'étude des conséquences de l'innovation technologique sur l'environnement et concerne une conception cohérente des façades vitrées d'édifices contemporains. L'objectif de la thèse est de comparer les effets thermiques (confort) énergétiques et lumineux (visuel) de deux types de façades répandues dans l'architecture tertiaire : la façade à " bandeaux vitrés " et la façade entièrement vitrée à " protection solaire répartie ", dans le souci de respecter la qualité environnementale des bâtiments. La recherche est basée sur des simulations pour des conditions climatiques diverses en faisant varier certaines conditions liées aux bâtiments telles notamment que l'inertie thermique, la ventilation, l'isolation thermique.

Texte remanié de: Thèse de doctorat--Histoire de l'art--Tours, 2004. Titre de soutenance : Le vitrail dans les anciens diocèses de Rouen et d'Evreux : formes et réformes (1517-1596).
Bibliogr. p. 404-419. Index.

Ce type de vitrail est constitué de dalles de verre (verres épais de deux centimètres, translucides et colorés dans la masse), taillées et réunies par du ciment arme. L'assemblage des pièces de verre, les joints sombres du ciment, l'éclatement des verres, la gravure comblée ou la grisaille, donnent aux compositions puissance et finesse. L'origine de cette technique est à rechercher dans les claustras antiques, les mosaiques décoratives, les vitraux traditionnels avec ou sans cabochons et le béton translucide. Elle est aussi intimement liée au renouvellement de l'art sacré, a l'emploi du béton armé - notamment en architecture religieuse-, aux constructions et reconstructions d'édifices culturels, situation carctéristique de la France de l'entre deux guerres. Ce procédé, inventé en 1929 sous le nom de "mosaique transparente" par le maitre verrier parisien, Jean Gaudin, a été perfectionné par Auguste Labouret (dépositaire d'un brevet en 1933) puis utilise par les ateliers Charles Lorin et cie, Emmanuel Rault et Pierre Turpin. J'ai recensé 74 realisations dont 19 vitraux d'exposition que je décris dans un catalogue illustre. L'analyse du style, de la technique et de la destination des oeuvres montre qu'elles sont le plus souvent integrées dans des édifices religieux de béton armé
This type of stained glass is made with slab glass (about 2 centimeters thickglass, translucent and colored in the mass), cut and assembled with a matrix of reinforced concrete. The origine of this technique is to research in ancient closures (cloisonne), in decoratives mosaics, in traditionnal leaded stained glass and in translucent cement. It is also closely tie to the renewal of sacred arts, to the employement of reinforced concrete - particulary in religious architecture-, to new constructions and reconstructions of religious edifices, situation which caracterise france between the two world wars. This process, invented in 1929 with the name of "translucent mosaic" by the parisian master glazier Jean Gaudin, has been perfectionned by auguste labouret (who took out a patent in 1933) then used by the studios of Charles Lorin and cie, Emmanuel Rault and Pierre Turpin. I have found 74 faceted windows among 19 of them are exhibition panels. I describe them in an illustated catalogue. The analysis of the style, of the technique and of the integration of these works of arts shows that they are most of the time destinated to be set in religious constructions made of reinforced concrete

Les vitrages feuilletés, mis en oeuvre dans le secteur du bâtiment (protection pour les bâtiments commerciaux, garde-corps, vitrines...) sont utilisés essentiellement pour la protection contre le heurt accidentel, contre le risque de blessures et contre le vandalisme et l'effraction. Leur résistance aux chocs et à la perforation, leur rigidité résiduelle après casse de la totalité des couches de verre, la réduction de la projection de fragments et du risque de lacération sont évaluées à l'aide de tests normatifs. Ce travail est une contribution à l'étude expérimentale du comportement à l'impact jusqu'à perforation des vitrages feuilletés. A partir d'une analyse expérimentale de l'impact de corps durs, la chronologie et la phénoménologie du processus d'endommagement des vitrages feuilletés ont été identifiées et ont permis de définir le bilan énergétique de la sollicitation. Les phénomènes mécaniques responsables de la dissipation de l'énergie incidente (fissuration, projection de fragments, déformation du film intercalaire et délaminage à l'interface verre/polymère) ont alors été décrits et quantifiés. Cette étude a montré, pour les catégories d'impacts considérés, la prédominance de la déformation du film intercalaire dans la dissipation d'énergie et la nécessité de considérer conjointement ce mécanisme avec les conditions d'adhésion. Enfin, à l'aide d'un dispositif original d'essais d'impact interrompus qui discrétise l'évolution de l'endommagement, la capacité du vitrage à dégrader l'énergie d'impact a été évaluée au cours du temps. Le principe de ce dispositif est de faire varier, pour une même énergie incidente, la distance de perforation du projectile. Ce dernier est de plus instrumenté afin de suivre l'évolution de son déplacement au cours de l'impact. Ainsi, l'évolution de l'endommagement peut être décrite et confrontée à la dissipation d'énergie afin de caractériser la résistance à la perforation des vitrages feuilletés.

La recherche d'une contreelectrode transparente pour la constitution de vitrages electrochromes a electrolyte polymere utilisant wo#3 comme materiau electrochrome conduit a l'etude de l'insertion de li#+ dans ceo#2 et v#2o#5 en comparaison avec wo#3

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The present dissertation has as objective to reflect on the process of construction of the narrative speech of Cacos para um vitral, workmanship of Adélia Prado, published in 1980. thus, we elaborate the following question: Knowing that the organization give to the composition to the romance Cacos para um vitral deives a digialogical construction, equivalent and multi-meaming, where is discursive dimension modality retakes the similar literal logic to the composition of stain glass window? Ahead of the object and the problematic one considered, we raise two hypotheses, first, the architextura of the composition of the stain glass window, second, the metalinguistic method cooperates with the assembly of double metaphor: stain glass window text. The research discloses, among other conclusions, that the organization of the text is brock up in direction, approaching the process of construction of the text and the composition of stain glass window
A presente dissertação tem como objetivo refletir sobre o processo de construção do discurso narrativo de Cacos para um vitral, obra de Adélia Prado, publicada em 1980. para tanto, elaboramos a seguinte pergunta: sabendo que a organização dada ao romance Cacos para um vitral deriva uma construção dialógica, equivalente e plurissignificativa, em que dimensão esta modalidade retoma a lógica textual similar à composição de um vitral? Diante do objetivo e da problemática propostos, levantamos duas hipóteses: primeira a arquitextura do romance Cacos para um vitral, retoma a modalidade discursiva metafórica da composição do vitral; segunda o método metalingüístico coopera com a montagem da dupla metáfora: texto-vitral. A pesquisa revela, entre outras conclusões, que a organização do texto é fragmentada no sentido de romper com as estruturas da linearidade. A metalinguagem é empregada no sentido operativo, aproximando o processo de construção do texto e a composição do vitral

Title: Treatment of CMV Vitritis in a Preterm Newborn Author’s Section: Remil Simon1, Darshan Shah1, Peter Blosser1, Demetrio Macariola1, Jeffrey Carlsen2 1.Department of Pediatrics, Quillen College of Medicine, East Tennessee State University, Johnson City, TN 2.Johnson City Eye Clinic, Johnson City, TN Body: Cytomegalovirus (CMV) infection in the neonate is an infrequent occurrence in the developing world, and observing the symptoms of ocular CMV infection such as vitritis is rare. Treating CMV infection promptly is necessary to prevent mortality and potential neurological deficits including blindness and hearing loss. We encountered a preterm infant presenting with CMV sepsis immediately after birth. Our question was: will the current standard of treatment for CMV sepsis prevent CMV ocular infection? With our method of treatment, we followed the current standard of treatment for CMV infection by administering intravenous Gancyclovir for 6 weeks and oral Valgancyclovir for 6 months. Despite using the standard treatment to prevent neurological sequelae, the patient developed CMV vitritis and retinitis bilaterally. Although the treatment did not prevent CMV ocular infection, the severity of CMV retinitis and vitritis improved with treatment, and full resolution of vitritis was noted by day of life 61.

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Instituto de Pesquisas Energeticas e Nucleares - IPEN/CNEN-SP

L’énigme du vitrail de saint Lubin à Chartres, qui montre une histoire de vin au centre de la vie du saint, se résout si l’on en pratique une lecture symbolique respectueuse des schèmes mentaux médiévaux : le mystère eucharistique central du vin permet au jeune Lubin de devenir un saint, dans sa vocation propre de consacré (le chanoine lettré du XIIème siècle transparaissant sous le moine du VIème siècle), prêtre et évêque, Bon Pasteur dispensateur des dons divins. La présence insolite de petits personnages dans la bordure correspond à une reprise en compte du peuple des laïcs à travers le mystère eucharistique et participe, avec les vignettes introductives, à une parénèse homilétique invitant tous les spectateurs à la conversion. Un enseignement théologique par l’image trouve son langage dans des images scripturaires interprétées par la glossa ordinaria et actualisées, constituées en chapitre de somme théologique fidèle à l’enseignement patristique de la figura et de la veritas, - le rapport veritas-figura du sang versé et du vin de la Cène étant de même type que celui qui régit le rapport de l’Ancien et du Nouveau Testaments, ainsi que celui de la Vie de l’Eglise terrestre et de l’Eschatologie ; il utilise les ressources constructives de la logique sans se soumettre à son hégémonie destructrice du mystère. Loin d’une publicité pour la relique du saint, l’évêque ou le chapitre, le vitrail s’inscrit ainsi dans la démarche contemporaine de l’école biblico-morale parisienne qui partage avec Saint-Victor, en particulier Richard, le projet de fonder la réforme morale du clergé et du peuple sur l'étude à la fois historique et symbolique de la Bible et sur la prédication
The enigma of saint Lubin stained glass window at Chartres, showing a wine story in the middle of the saint’s life, can be resolved by a symbolic interpretation of it’s images, if paying regard to the medieval mental schemes : the central Eucharistic mystery of the wine enables the young Lubin to achieve sainthood, through his own vocation of consecrated (the learned canon of XIIth century appearing under the VIth century monk), priest and bishop, Good Sheperd dispensing divine gifts. The unusual presence of small human figures at the outer framework of the stained glass window emphasises the important role to be played by the laity in the Eucharistic mysteries. It takes part, with the introductive images, to a preached exhortation of the window, inviting all spectators to be converted. It’s theological teaching imports as it’s means of expression the images of the Scriptures, as interpretated by glossa ordinaria, updated, and organised into a Theological Sum chapter, remaining faithfull to the Fathers’ teaching about figura and veritas, the relationship figura-veritas of the wine of the Last Supper and the blood of Christ being of the same ‘type’ as between the Old and the New Testaments, or between the Life of earthly Church and Eschatology, using the constructive resources of Logic, without submitting to its mystery devastating hegemony. Far from being an advertisement for the relic of the saint, for the bishop or the canons, the stained-glass window thus takes place in the contemporaneous stream of the Parisian ‘Biblico-moral School’, who shared with Saint-Victor, in particular with Richard, the project to lay foundations for a moral reformation of Clergy and Laity on the study, -as well historical as symbolic-, of the Bible, and on preaching

Max Ingrand (1908-1969) fut l'un des maîtres verriers français les plus célèbres du XXe siècle. Après ses études à l'École nationale des arts décoratifs, il entre en 1927 dans l'atelier de Jacques Gruber (1870-1936). Dès 1931, il commence une carrière personnelle de maître verrier décorateur et réalise de nombreux décors civils en glaces gravées. Il crée les vitraux de l'église Sainte-Agnès de Maisons-Alfort et participe au projet des verrières de la nef de Notre-Dame de Paris qui sont présentées au pavillon pontifical de l'Exposition de 1937. Mobilisé en 1939, il reste cinq ans prisonnier dans un Oflag en Allemagne. A son retour, il devient l'un des verriers les plus actifs des chantiers de la reconstruction où il réalise notamment l'ensemble monumental de l'église d'Yvetot. Le service des Monuments historiques lui confie des chantiers prestigieux : cathédrales de Rouen, de Beauvais, de Saint-Malo, de Strasbourg, chapelles des châteaux de Blois, d'Amboise, de Chenonceau, églises de La-Charité-sur-Loire et des Jacobins de Toulouse. Au milieu des années cinquante, sa notoriété lui vaut des commandes importantes à l'étranger, notamment aux États-Unis, au Canada et en Amérique du sud. Il poursuit parallèlement une œuvre de décorateur et de designer. Il assure pendant treize ans la direction artistique de la firme italienne Fontana-Arte pour laquelle il crée de nombreux modèles de luminaires. Il participe au décor de paquebots parmi lesquels le Normandie et le France. Il conçoit des fontaines lumineuses, notamment pour les Champs-Élysées à Paris. Dans ses dernières années, il réoriente sa carrière vers l'architecture d'intérieur et l'éclairage. Il meurt brutalement en 1969, peu après avoir confié la direction de son atelier à son collaborateur Michel Durand
Max Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand

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]

Introduction: An idiopathic inflammation of the vitreous humor, “sterile vitritis,” has been observed in some keratoprosthesis recipients, typically months to years after implantation. Its etiology is unclear. Potential mechanisms include: 1) local tissue destruction and inflammation around the prosthesis, at the point of contact between cornea donor tissue and the device, 2) microbial cell wall or nucleic acid triggering inflammation, or 3) a systemic immune response with ocular manifestations. Purpose: 1) To present possible theories for vitreous inflammation, 2) revisit and redefine the clinical paradigm originally attributed to Boston keratoprosthesis recipients presenting with idiopathic culture-negative vitreous inflammation, and 3) investigate one potential mechanism of idiopathic vitritis via a case-control study, using a unique application of anterior-segment OCT imaging. Subjects: 346 adult patients with a keratoprosthesis, performed by three surgeons (JC, KAC, CHD) at Massachusetts Eye and Ear Infirmary from January 2000 to August 2013. Methods: A retrospective chart review was performed of the subject group at Massachusetts Eye and Ear Infirmary for demographic data, indication(s) for surgery, timing and presentation of vitreous inflammation, and best-corrected visual acuity at baseline, on presentation, and after resolution of vitritis. Of those in the subject group, 13 KPro eyes with a history of sterile vitritis and 34 KPro eyes without a history of sterile vitritis underwent anterior segment optical coherence tomography (AS-OCT) an average of 3.6 years postoperatively (range 1.9-14.2 yrs). Areas of corneal graft tissue loss (“gaps”) around the KPro stem were identified. Image analysis was performed by two masked observers. The difference in presence, number and size of gaps was compared between cases and controls. Results: 43 patients were found to have vitreous inflammation between 2 days and 8.5 years postoperatively. 23 cases (43 total episodes) showed no obvious cause for inflammation. 7/23 patients presented with signs and symptoms similar to infectious endophthalmitis but were culture-negative. The number of patients who fit the previous paradigm of sudden painless loss of vision without external signs of infectious endophthalmitis (“sterile vitritis”) was 8 of 23 cases. Vision decline was variable (median loss of 9 lines on Snellen Chart, range 0-24), and median time to recovery of best vision was 8.9 weeks (range 0.86-36.7). 12/23 patients had repeat bouts of vitritis. 10/43 episodes did not recover to baseline vision. 17/23 patients later developed retroprosthetic membranes (13), glaucoma (8), cystoid macular edema (3), and/or retinal detachment (2). Among sterile vitritis patients imaged using AS-OCT, thirteen patients (13 eyes) had a Type I keratoprosthesis. These patients were compared with 34 Type I controls. There was a significant difference in the proportion of patients presenting with at least 1 gap (11/13= 86%) on AS-OCT as compared to controls (11/34=33.3%, p<0.001). There was a significant difference in the number of gaps between cases and controls (2.6±1.6 vs. 0.5±0.8, p< 0.001), but no significant difference in gap size (0.056 ± 0.049 mm2 vs. 0.039 ± 0.025 mm2, p= 0.22). Conclusions: The paradigm for sterile vitritis after keratoprosthesis implantation includes sudden, painless loss of vision with full recovery of vision upon treatment with periocular corticosteroids. However, this existing paradigm does not capture the full spectrum of the disorder. Sterile vitritis after keratoprosthesis can also mimic infectious endophthalmitis, and vision may not recover to baseline despite treatment. A combination of factors likely contribute to each case of idiopathic vitreous inflammation. Specifically, tissue remodeling around the keratoprosthesis may create a dynamic space for inorganic or organic debris to enter the eye. A significantly higher proportion of KPro eyes with sterile vitritis had tissue loss around the KPro stem on AS-OCT than controls. Tissue loss may serve as an entry point for debris or bacterial components, triggering sterile vitritis. Our study underscores the importance of surveillance with AS-OCT imaging in the post-operative management of KPro patients.

Partant d'une remarque d'Emile Mâle qui voyait dans les verrières de Conches, une "réfutation du calvinisme", cette thèse s'est proposée une étude stylistique et iconographique du vitrail normand dans la perspective de la Réforme, étude effectuée sur la base des données du récent Récensement des Vitraux de le Haute Normandie et justifiée à la fois par un imposant corpus et par la précose pénétration dans cette province des doctrines nouvelles. La méthode adoptée associe à l'approche iconographique la recherche des modèles graphiques, considérés comme signifiants et privilégie une mise en relation avec les évenements historiques et la controverse religieuse, les poésies et pamphlets anti-protestants. Si les modéles gravés utilisés entre 1520 et 1550 sont de préférence italiens et exaltent la Rome vaticane, de 1562 à l'édit de Nantes, ils sont pour la pluspart originaires des Pays -Bas où ils servent une idéologie ; on remarque encore des relations étroites entre les illustrations des pamphlets anti-protestants et les verrières. Une analyse approfondie des oeuvres réalisées entre 1522 et 1562 montre ainsi que la contre propagande catholique utilise le vitrail comme médium privilégié et qu'elle n'attend ni la fin du Concile de Trente ni l'ère de la Contre-Réforme officielle.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Estudos da Tradução, Florianópolis, 2011
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A presente pesquisa teve origem na leitura da correspondência de Charles Baudelaire. De fato, o retrato encontrado nas cartas não correspondia à imagem do poeta que tínhamos até então, chocando-se, notadamente, com o ensaio "A arte de Baudelaire" do renomado tradutor das Flores do mal: Ivan Junqueira. Assim sendo, tendo em vista não haver tradução para o português dessa correspondência, por um lado, propomos uma tradução comentada de uma seleção de epístolas, por outro, investigamos as afirmações de Junqueira, de influência sartriana, que propagaram o mito (ou a lenda) em torno de Baudelaire, sobretudo, a revolta com o casamento da mãe com o coronel Aupick e o complexo de Édipo. Nossa tradução teve respaldo nas reflexões de Haroldo de Campos e Antoine Berman, principalmente, no cuidado com a expressão, o agenciamento das palavras, com a proposta, via a escrita mallarmeana, de valorizar a sugestão, o enigma, enfim, a potência da linguagem em detrimento da hegemonia absoluta do sentido. Tal um microscópio, a violação da sintaxe em Mallarmé possibilitou enxergar a expressão que Baudelaire inventou, muito mais discreta, mas não menos importante. Esta seleção é composta de 95 cartas, na maioria no período entre 1832-1842, da infância à seu retorno de Bourbon, para examinar as relações do poeta com sua família, situando-os também em seu contexto burguês no século XIX. Esta tese é composta não somente do exercício desafiador da tradução das missivas, mas igualmente da análise de uma tradição baudelairiana que alcançou o Brasil sem uma reflexão aprofundada com base na correspondência. Esta versão procura debater um outro Baudelaire, revelado na leitura de suas epístolas.

Les nouvelles technologies utilisées pour la fabrication du verre comme par exemple, les vitrages électrochromiques, ont permis le développement des fenêtres dites dynamiques dans lesquelles les propriétés optiques peuvent être ajustées en fonction des variations de la température et de l’ensoleillement. Ces fenêtres dynamiques permettent une modulation du coefficient de gains solaires (SHGC) en fonction des besoins en chauffage et climatisation ou selon les besoins des occupants. Leurs coûts étant encore relativement élevés, ce type de fenêtres commence à peine à percer le marché commercial. L’objectif de ce mémoire est d'évaluer les performances énergétiques de deux types de fenêtres : une fenêtre à double vitrage (DW) appelée fenêtre de référence, et une fenêtre électrochromique dans les états clair et coloré. Le bilan thermique des fenêtres étudiées est déterminé en fonction des conditions météorologiques pour la ville de Montréal et pour quatre orientations possibles de fenêtre. De plus, trois méthodes de calcul du transfert de chaleur attribuable au rayonnement solaire sont comparées. Les modélisations du transfert de chaleur à l’aide des progiciels Window et Therm montrent qu’il n’y a pas une différence significative entre les coefficients de déperdition thermique des deux types de fenêtre. Les différences entre les fenêtres étant attribuables aux gains solaires, le bilan énergétique sur les fenêtres soumises à des conditions hivernales et estivales montrent que la fenêtre électrochromique permet de réduire les gains de chaleur en été de 1,6 kWh/m2 par jour. Cependant, les performances du vitrage électrochromique en hiver sont moindres par rapport à la fenêtre DW avec une perte d’énergie de 0,75 kWh/m2 par jour comparativement à 0,6 kWh/m2 pour la fenêtre à double vitrage. De plus, les résultats montrent que la contribution du rayonnement diffus est significative sur le bilan énergétique d’une fenêtre.

Ce travail de thèse est dédié à l'étude du comportement mécanique des vitrages feuilletés destinés aux bâtiments. Afin de qualifier les propriétés rhéologiques des films intercalaires polymères utilisés dans ces structures sandwich, l'analyse mécanique dynamique a été utilisée. Nous avons déterminé les températures de transition vitreuse autour de l'ambiante (0-60°C) des trois familles de matériaux et appliqué le principe d'équivalence pour construire les courbes maîtresses donnant les propriétés viscoélastiques sur un spectre élargi de fréquences. Des essais de traction et de cisaillement renseignent sur le comportement au fluage et la viscosité des plastiques autour de leur transition. Nous nous sommes ensuite intéressés au comportement sous chargement statique des structures en verre feuilleté, poutres puis plaques. Pour des sollicitations courantes, l'approche d'épaisseur équivalente a été exposée et la contribution mécanique des intercalaires qualifiées par des modèles analytiques et numériques validés expérimentalement. Des essais de fluage par flexion ont été menés afin d'évaluer le comportement à long terme des vitrages feuilletés en condition de service. La résistance face à des impacts a été qualifiée au moyen d'essais bien connus tels que le pendule de Charpy et la chute de bille ainsi qu'à l'aide d'un outil original, le canon. Nous nous sommes attachés à évaluer la contribution des différents constituants dans la dissipation de l'énergie incidente du corps de choc. Nous avons qualifié la résistance à l'impact de nombreux assemblages feuilletés à l'aide du canon et pu établir le lien entre nos résultats et les critères de performance des tests normalisés
This work is devoted to the study of the mechanical behaviour of laminated glass for building applications. In order to qualify the rheological properties of the interlayer foil used in the sandwich structure, dynamical mechanical analysis has been used. It allows the determination of the glass transition temperature aroun the ambient temperature (0-60]C) of the three material families underlined. Time temperature principle has been applied for the master curves construction making enquiries of the viscoelastic properties for a larger range of temperatures and frequencies. Further tensile and shear trials give an insight into the creep behaviour and viscosity of plastics around their transition. All of this data has been used to study the behaviour of laminated glass structures, beams and plates, under static loadings. The principle of effective thickness has been exposed and the mechanical contribution of interlayer determined by analytical and numerical models validated with experimental results. Bending creep tests have been run to evaluate long term behaviour of laminated glass in its serviceability conditions. Resistance against impacts has been qualified with well known Charpy's pendulum and ball drop tests as well as an original device, the canon. We have tried to evaluate the contribution of the constituting material in the dissipation of the impact resistance of many laminated glass products and rely the results to the performances established in an European standard

Les vitraux du chœur de la cathédrale d’Angers ont été déplacés à plusieurs reprises. Ces déplacements ont fait l'objet d'une étude approfondie, ainsi que les différentes restaurations survenues depuis leur création. L'iconographie des vitraux provenant du chœur de l'édifice angevin a pu être reconstituée en partie : les sujets de quatorze verrières sur seize sont désormais connus. Les thèmes illustrés mettaient l'accent sur les relations entre le pouvoir spirituel et le pouvoir temporel et surtout glorifiaient l'épiscopat au travers des vies de plusieurs saints évêques. Les vitraux consacrés à saint Julien du Mans et à saint Maurille avaient été composés selon un modèle commun et ces deux vies se référaient à celle de saint Martin qui figurait à l'origine dans deux verrières. Un cycle axe sur la vie du christ avait aussi été développé parmi les vitraux de la cathédrale. Enfin, la vierge était aussi particulièrement glorifiée puisqu'elle figurait en majesté dans une verrière du chœur et intervenait dans l'histoire de Théophile qui avait aussi été représentée. Le style de ces vitraux permet de les dater des années 1230-1235. Trois groupes d'artistes peuvent être facilement distingués : le " groupe de saint Éloi ", le " groupe de saint Laurent " et le " groupe du transept ". Parmi eux, plusieurs fortes personnalités se remarquent, en particulier celles du " maitre de saint Thomas Becket " et celle du " maitre principal de saint Julien ". La vitrerie du chœur de la cathédrale d’Angers présente des liens avec des vitraux de Coutances, Tours, Vivoin, Le Mans, les Essards, Charentilly, Montreuil-sur-Loir et Bourges. Ces vitraux témoignent de l'importance d’Angers dans la peinture sur verre de la première moitié du XIIIème siècle dans l'ouest de la France.

La fenêtre pariéto-dynamique est un système « passif » de récupération de chaleur. Son principe de fonctionnement consiste à faire circuler l’air neuf de ventilation entre les lames de verre avant son introduction dans le volume habitable. Une partie de la chaleur traversant les vitrages est alors récupérée par l’écoulement d’air. La fenêtre Paziaud® est une fenêtre pariéto-dynamique particulière, composée de trois vitrages séparés par des lames d’air ventilées qui forment un conduit en U. Alors que la mise en place d’un système de ventilation double flux est complexe dans un contexte de réhabilitation, ce type de fenêtre présente une alternative intéressante moyennant un surcoût d’environ 20% par rapport à une fenêtre double vitrage classique mais permettant une récupération de chaleur non négligeable.Afin de caractériser les performances de la fenêtre Paziaud®, des études numériques et expérimentales ont été entreprises et ont confirmé le potentiel du dispositif. Par ailleurs, la prise en compte de ce genre de système dans les codes de simulation thermique des bâtiments n’est pas satisfaisante. Pour répondre à ce besoin, ont été développés plusieurs modèles simplifiés basés sur un bilan thermique représentable par analogie électrique. Une attention particulière a été portée sur le traitement des échanges convectifs dans les lames d’air. Les résultats ont permis de valider un modèle simplifié, qui pourra être utilisé par la suite dans un code de thermique de l’habitat
The ventilated window is a passive system of heat recovery. It draws fresh air circulating between window’s glasses from the outside to the inside. A part of the heat which crosses the glasses is then recovered by the air flow. The Paziaud® window is composed of three glasses separated by ventilated air spaces in U-shape. While the implementation of a double-flow ventilation system for the housing retrofitting is complex, this Paziaud® window costs only 20% more than a conventional double-glazed window but improves significantly the heat recovery.In order to study the performance of the Paziaud® window, numerical and experimental works have been undertaken and have confirmed the potentiality of such windows. However, a thermal code able to take into account the heat exchange is not available for such system. Considering this lack of simulations, several simplified models based on electrical analogy have been developed. Particular attention is paid to the convective exchange process in the ventilated air spaces. The numerical results could validate a simplified thermal model which can be integrated to the building codes

Trois ensembles de vitraux, crees pour des eglises paroissiales rurales des dioceses de tours et d'angers dans le deuxieme tiers du douzieme siecle, constituent une base pour l'etude des plus anciens vitraux de l'ouest de la france: vitraux de chemille-surindrois (indre-et-loire), et de chenu (sarthe) conserves a rivenhall (essex). Par leur technique et par leur style, ils appartiennent au groupe des plus anciennes series de vitraux des grands edifices de l'ouest: cathedrales du mans, d'angers, de poitiers, et abbatiale de vendome; le vitrail des essards peut etre attribue a l'atelier de l'ascension du mans. L'iconographie de ces vitraux illustre la spiritualite de l'epoque et est liee au combat contre l'heresie; elle a sans doute ete inspiree par les clercs patrons des edifices: archeveque et tresorier de tours (les essards et chemille), et chapitre de saint-martin de tours (chenu) ces images illustrent la predication contemporaine, notamment celle de hildebert de lavardin et de geoffroi de vendome. Le style de ce groupe de vitraux, tres graphique et lineaire, est l'heritier de la peinture murale et surtout de l'enluminure dans la vallee de la loire autour de 1100; il est egalement tres proche du style d'oeuvres peintes et enluminees dans le maine, l'anjou et la touraine jusqu'au milieu du douzieme siecle, notamment de livres enlumines a tours et a vendome vers 1150. En conclusion, ces verrieres temoignent de la peinture sur verre a tours au douzieme siecle, de la circulation des artistes, et elles montrent l'importance de la tradition picturale de tours et de sa region dans la diffusion de ce style dans la peinture sur verre
Three series of painted glass have been executed for rural parish churches in the bishoprics of tours and angers during the second third of the twelfth century, they are the base of this study on the most ancient painted glass in western france: glass from chemille-sur-indrois (indre-et-loire), les essards (indre-et-loire) and chenu (sarthe) which are now in rivenhall (essex). Their technique and their style make them a part of a group which is constitued by the most ancient series of glass in the cathedrals of le mans, angers and poitiers, and of the abbey church of vendome. The panel of les essards can be attributed to the atelier which have made the ascension panels in le mans. These painted glass reflect the high spirituality of this period and the continual fight against heresy. The iconographic themes are probably inspired by the patrons of these parish churches: the archbishop and the treasurer of tours (les essards et chemille), and the chapter of st. Martin of tours (chenu); they illustrate many themes of predication of hildebert de lavardin and geoffroi de vendome. The style of figuration of this group of painted glass is very graphic and closed to painted and illuminated works in loire valley around 1100; it is also related to works in the same area until 1150, specially to books illuminated in tours and vendome about 1150. So we can conclude by the affirmation of the role of the pictorial tradition of tours and its region in the diffusion of this style in painted glass during the second third of the twelfth century

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 espagnols
The 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

Le recensement des vitraux anciens de la France conduit depuis 1972 dans le cadre du Ministère de la Culture sera bientôt achevé. Cet inventaire méthodique et exhaustif est régulièrement publié dans des ouvrages conçus comme des instruments de travail qui visent à apporter au monde de la recherche une documentation précise, critique et présentée avec objectivité, sur toutes les oeuvres de ce domaine patrimonial, sans hiéarchie. Ce recensement fait émerger une multiple et inépuisable matière à réflexion, qui alimente des problématiques communes à d'autres disciplines de l'histoire de l'art (usages techniques, problèmes de la commande artistique, de la diffusion des formes, etc. . . ). Un retour sur la documentation accumulée et sur les travaux personnels qui se sont ajoutés au fil de l'expérience permet d'appréhender l'évolution du champ scientifique que constitue le vitrail, qui a beaucoup gagné en participant d'une vision élargie.