GLASISCO
STAINED GLASS
The Enchanting World of Stained Glass: Where Light and Color Intertwine
Stained glass is the vibrant heart of decorative windows and other objects, letting light dance through its colorful embrace. While technically, all colored glass is "stained" during its molten stage with metallic oxides, the term specifically refers to the beautiful pieces adorning windows with ornaments and stories.
The magic of stained glass lies not in a special coloring technique, but in how it harnesses the power of light. As light filters through, it interacts with our vision, creating unique color harmonies. This effect wasn't created by technical advancements, but by sheer artistic mastery. In fact, the magnificent stained-glass masterpieces of the 12th and early 13th centuries were crafted even before significant breakthroughs in glassmaking!
While later improvements brought delicate refinements, they couldn't stop the art's decline. Ironically, these advancements might have even hastened it as artists, tempted by other art forms, started focusing on replicating real-life details instead of embracing the unique expressiveness of stained glass.
Interestingly, neither painting on the glass nor using lead strips are essential elements. Wooden frames or even cement tracery, like the kind adorning Islamic architecture, could have come before lead. And the biggest innovation of the 20th century, slab glass and concrete, was simply a twist on the old masonry technique.
The Magic of Stained Glass: A Dance with Light
Among all art forms, stained glass might be the trickiest. It's not just bound by the constant changes in light that affect its appearance, but also by the limitations of its structure. Yet, somehow, it feels weightless, vibrant, and utterly captivating. Why?
The secret lies in how stained glass plays with two dynamic forces: light and how our eyes perceive it. Light constantly changes, be it its intensity, location, or source. From a bright prairie to a shadowy dungeon, each environment influences the light. Our eyes, in turn, adapt to this ever-changing light to help us see.
Architecture plays a crucial role too. By controlling the brightness of light entering through windows, it sets the stage for the artist. In the early church, darkness reigned, making vibrant, deep colors ideal. When clear glass was used, intricate "grisaille" patterns softened the harsh light. Later, as churches opened up, the contrast between inside and outside light lessened, leading to lighter, subtler color palettes.
But the truly magical element is change. Natural light constantly transforms the appearance of stained glass. Throughout the day, windows come alive and fade, each telling a story with their changing hues. Imagine entering a cathedral at sunrise. The east windows bathe in light, while others slumber in twilight. As the sun rises, these windows take center stage, only to yield to the southern windows bathed in midday sun. Even cloudy skies alter the scene, bringing out hidden details and shifting focus between windows.
Late afternoon paints the west windows with fiery blues, while opening the doors creates a blinding contrast. Finally, as the sun sets, warm colors take over, and the blues fade into the deepening twilight. When darkness falls, the cathedral is engulfed in silence, waiting for the light to return and start the dance anew.
Stained glass isn't just art; it's a symphony of light. It uses color, refraction, and even darkness to create emotions and tell stories that go beyond mere paint on canvas. It's a living, breathing masterpiece that changes with every moment, leaving us awestruck by its beauty and complexity.
Understanding Stained Glass: Materials and Techniques Contrary to popular belief, glassmakers and stained-glass artists were rarely the same people, even in the early days. Imagine this: glassmakers set up shop by forests for their fuel, while stained-glass studios thrived near construction sites. It was a beautiful collaboration! So, how did the raw material make its journey? Medieval glass was handcrafted, colored with metal oxides while molten. Copper made ruby, cobalt brought blue, and so on. Glassblowers created sheets by inflating hot glass, shaping it, and flattening it while pliable. These sheets were then carefully cooled to be cut into desired shapes for the stained-glass artist's design. Interestingly, these early glass sheets, except for a special type, had only one base color throughout. To create different colors in a window, separate pieces of different colored glass were used. Think of it like a mosaic! Here's the fascinating part: the "imperfections" of 12th-13th century glass actually made it perfect for stained glass. These sheets, though small, were thick enough for rich color variations and thin enough for precise cutting. However, as glass technology advanced, sheets became larger, thinner, and flatter, offering more colors but losing some of their visual charm. Recognizing this, artists of the Gothic Revival period (mid-19th century) brought back old methods, creating "antique" glass that resembled the earlier, visually captivating glass. This "antique" glass remains the main material for stained glass even today!
The Art of Stained Glass: A Journey Through History and Technique Imagine a magnificent window, not just painted glass, but a story woven from countless pieces. This is the magic of stained glass, an art form born from the traditions of mosaic and enameling. From Mosaics to Masterpieces: Mosaics inspired the idea of composing large images from individual pieces of colored glass. Enameling, with its intricate metalwork, influenced both the joining of glass pieces with lead strips and the use of these strips as design elements themselves. Additionally, enamelers provided the near-black vitreous enamel used to paint details onto the glass. Theophilus and the Birth of Stained Glass: The exact origins of stained glass remain a mystery, but the earliest detailed description comes from Theophilus, a 12th-century monk. He described the process in his book, starting with a full-size cartoon or drawing of the window. Colored glass sheets were then carefully cut using a heated iron, further shaped with a special tool, and painted with enamel as needed. Finally, the pieces were assembled using H-shaped lead strips, soldered together, and waterproofed for installation. Dividing and Conquering: The Challenge of Large Windows: As windows grew larger, dividing them into smaller panels became crucial. Early single-figure windows, like the Prophets in Augsburg Cathedral, used simple divisions. But ambitious windows like the Poitiers Crucifixion (175 sq ft) and the Life of Christ in Chartres (over 250 sq ft) required more complex solutions. From Necessity to Beauty: The Rise of Armatures and Medallion Windows: Architects and artists ingeniously turned the need for support structures into a design element. Iron armatures were used to divide windows, often forming geometric patterns incorporated into the overall design. This paved the way for the iconic medallion windows of Gothic cathedrals, where the armatures delineated the main sections, creating a harmonious blend of storytelling and architecture. Beyond the Gothic: A Shift in Focus: Unfortunately, the relationship between stained glass and architecture began to decline after the Gothic period. Stained-glass artists started focusing on replicating the styles of fresco and easel painters, judging their work by the same standards. This marked a shift from its unique strengths and integration with architecture. Conclusion: Stained glass is a fascinating journey through history, technique, and artistry. From its mosaic and enameling roots to the innovative use of armatures, it has always pushed boundaries and evolved. Understanding its history allows us to appreciate the unique beauty and skill that goes into each mesmerizing window.
Stained Glass Gets a Makeover: Innovations in the 14th Century The 14th century marked a significant leap forward in the art of stained glass. Here's a breakdown of the exciting new techniques that emerged: Color Explosion: Previously unavailable colors like smoky ambers, moss greens, and violets joined the palette. A method for painting yellow with silver salts was discovered, adding another vibrant hue. Shading with Style: Glass painters mastered the art of shading and modeling with vitreous enamel, creating translucent effects and depth. Darker shades were sometimes achieved by painting both sides of the glass. Linework became more refined and versatile, especially in the 15th century. Beyond the Grid: Abrasion of Flashed Glass: This revolutionary technique allowed for detailed effects without relying solely on lead lines. Ruby glass, with its unique composition, could be "flashed" with a thin film of color. By grinding away parts of this film, artists could create intricate patterns and details. Other colors were also "flashed" for this purpose, expanding the color palette further. Breaking Free from the Grid: These techniques, combined with the silver stain, offered a wider range of translucent tones. This freed stained glass from the limitations of lead lines, allowing for more freedom of expression. Early Examples and Future Potential: While first practiced in the late 13th and early 14th centuries, the grinding of flashed glass became more widespread in the 15th and 16th centuries. These innovations marked a turning point for stained glass, paving the way for even more artistic possibilities in the future.
Stained Glass: A Journey Through Innovation and Evolution Evolving Techniques and Materials: The 16th century saw a new wave of innovation with the development of versatile vitreous enamels. Artists started painting directly on glass using these enamels, though the results were often translucent, pale, and not as durable as expected. Mid-17th century political unrest disrupted the supply of colored glass, leading to a shift towards the new enamel painting technique. This gradually replaced the traditional use of colored glass for some time. Utilitarian Advancements from the 16th to 20th Centuries: While artistic expression took a backseat, the craft itself continued to evolve with practical advancements. The 16th century saw the invention of the diamond glass cutter, followed by the introduction of hydrofluoric acid for etching flashed glass in the 18th century. The 19th and 20th centuries brought gas and electric kilns, soldering irons, and plate-glass easels for temporary painting before leading. This period also witnessed the development of the largest palette of glass ever seen, offering a vast range of colors, textures, and thicknesses. Modern Innovations and Pushing Boundaries: The 20th century wasn't just about materials. Slab glass and concrete windows, developed in France around 1930, offered an alternative to traditional leadwork. Mid-century saw further experimentation with techniques like bonding glass with transparent resin glues. Looking at it purely from a technical standpoint, contemporary stained glass is unmatched in its versatility as an artistic tool. The combination of traditional and modern techniques allows artists to express themselves in ways never before possible.
Unveiling the Stories in Stained Glass: Subject Matter in the Middle Ages Teaching Through Glass: In medieval times, churches used art to educate and inspire. Stained glass windows played a crucial role, depicting stories from the Bible and glorifying the church and its saints. Location, Location, Location: The church building itself influenced the content of the windows. Each area, based on its architecture and sunlight exposure, tended to showcase specific themes. For example, in Chartres Cathedral, the Virgin Mary is celebrated in the choir, while Christ reigns supreme in the south rose window, and the Last Judgment takes center stage in the west. Grand Designs and Personal Touches: Several factors impacted the subject matter. The circular "rose" windows often explored cosmic themes like life on earth and the afterlife. However, some themes like the "Jesse Tree" (lineage of Jesus) remained popular due to their visual richness. Finally, donors of windows could choose their preferred themes, creating diverse masterpieces within the overall program. The Scale of Stained Glass Storytelling: Just imagine: Chartres Cathedral holds a staggering 27,000 square feet of stained glass! Many windows contain multiple scenes, and the rose windows are vast artworks in themselves. This showcases the immense effort and collaborative approach behind these creations. From Clerics to Cartoons: Bringing Ideas to Life: Clerics likely provided initial themes for the windows. Early sketches might have served as inspiration, but the specific scenes could be interpreted in various mediums like paintings or sculptures. By the late Middle Ages, detailed written instructions guided the creation of provisional sketches to ensure patron approval before final production. Reuse and Refinement: A Thriving Industry: Glaziers often had pre-made designs (cartoons) that could be adapted to different projects. This practice is evident from historical records, suggesting a well-structured industry catering to patrons with varying budgets. More Than Just Craft: Artistic Expression: While donors had a say, the final design was the glazier's creation. These skilled artists used their unique techniques to express the artistic spirit of their time, ensuring that stained glass transcended mere decoration and became powerful storytelling tools.
Unveiling the Origins of Stained Glass: A Journey Through Time and Space Early Glimmers: Stained glass windows predate the 12th century, though details remain hazy. References from early Christian leaders and excavations hint at their existence. From colored glass fragments to mosaic-style windows with alabaster and bronze, various techniques were used. Leading to hold pieces together also appeared early, with the 9th century offering potential evidence of pictorial designs. From Simple to Stories: While early windows had geometric or simple designs, pictorial depictions emerged around the 9th century. Fragments suggesting figures have been found in Germany and France, with the 10th century bringing mentions of stories incorporated into windows. The earliest known pictorial window depicting Christ's head dates back to the 9th-11th centuries. A New Focus on Light: Carolingian and early Romanesque architecture limited window size, favoring wall and vault decorations. However, with the shift towards openness in late Romanesque and Gothic styles, fenestration gained importance. This paved the way for pictorial stained glass to become a major art form, especially in Northern Europe. Intriguing Discoveries: While Western Europe usually claims stained glass invention, recent discoveries challenge this narrative. Windows found in Istanbul suggest an independent tradition before 1136, adding complexity to the existing puzzle. Looking Ahead: Unveiling the full story of stained glass evolution requires further exploration. The discoveries in Istanbul highlight the need for a broader lens, acknowledging potentially diverse origins and influences that contributed to this captivating art form.
Stained Glass in the 12th Century: A Regional Journey Giant Figures and Narrative Tales: The 12th century saw stained glass windows evolve beyond single monumental figures like those in Augsburg and Canterbury. A key development was the narrative window, with a series of medallions telling stories. This innovation emerged around 1140-1144 at the Abbey of Saint-Denis near Paris. Additionally, decorative patterns filled the empty spaces around figures, particularly in Germany, as seen in the Jesse tree window (c. 1170-80) at Frankfurt. Regional Flourishing in France: By the 12th century, regional styles became evident in France, Germany, and England. In France, western workshops created masterpieces like the Ascension window (c. 1145) in Le Mans and the Crucifixion window (c. 1165) in Poitiers. The northeastern region boasted the distinct Champagne school, exemplified by the Redemption and St. Stephen windows (c. 1150-60) in Châlons-sur-Marne and the later windows (c. 1190) at Saint-Remi in Reims, showing a shift towards the Gothic style. The Île-de-France region around Paris had a prominent workshop connected to the Abbey of Saint-Denis. While only fragments remain, the three windows (c. 1150-55) at the Chartres west facade showcase the pinnacle of Romanesque stained glass. Tracing Influences: Pinpointing the exact influences on these styles is challenging. The Saint-Denis-Chartres group shares similarities with north French manuscript paintings, and Abbot Suger's record of employing diverse glaziers adds complexity. The Le Mans window reflects earlier western French paintings, while the Châlons-sur-Marne window draws inspiration from both Ottonian manuscripts and Mosan metalwork. Germany and England: Germany has fewer surviving 12th-century windows. The series of prophets (c. 1125) in Augsburg Cathedral stands out, showcasing Romanesque monumentality and bold colors. Byzantine influence emerged later, seen in the Moses and the Burning Bush window in Frankfurt and the Magdalen window (c. 1170) from Weitensfeld. England has limited remains, with fragmentary narrative windows in York Minster and a single figure from a Jesse tree showing similarities to Saint-Denis and Chartres. The most remarkable find is the Canterbury Cathedral series (c. 1178-1200) depicting the descent of Christ from Adam, displaying humanism and movement reminiscent of contemporary English manuscripts. Conclusion: The 12th century witnessed a flourishing of stained glass across Europe, with regional styles developing and narrative storytelling gaining prominence. From France's diverse workshops to Germany's bold colors and England's hints of humanism, this period laid the foundation for further evolution in this captivating art form.
Stained Glass in the 13th Century: Light, Design, and Naturalism White Light and Delicate Details: A signature feature of the 13th century was the grisaille window. Imagine intricate geometric patterns made mostly of white glass, often painted with leaves. This design served two purposes: it let in more light and was cheaper than using colored glass everywhere. However, adding colored figures or medallions to these windows meant light could shine through, breaking the unified effect of using only colored glass. Impact on Style: This change in light had a big impact on style. Designs became more linear and detailed, like miniature drawings on glass. They were also smaller and more delicate, compared to the larger, bolder forms of previous eras. Combining grisaille with colored figures became more common, especially in France and England during the second half of the century. From Formal to Natural: Inspired by figures like St. Francis of Assisi, artists started incorporating naturalism into their work. Instead of the stylized leaves of earlier times, they began using realistic depictions of oak, vine, and maple leaves. These leaves broke free from rigid patterns and flowed more organically, reflecting the natural world. In short: 13th century saw the rise of "grisaille" windows, using mostly white glass for detail and light. Combining grisaille with colored figures created a new, detailed style. Artists embraced naturalism, depicting realistic plants and organic forms. Stained Glass in 13th Century France: Regional Styles and Evolving Trends Building on the Past: France, with its wealth of surviving examples, shows how regional styles evolved naturally from their 12th-century counterparts. The first quarter of the century saw no drastic changes in style or technique. Regional Variations: Western France: Romanesque influences softened in works like the Saint-Vital window (Le Mans) and the Saint-Martin window (Angers). Lyon: A distinct workshop showcased Byzantine influence in the Lyon Cathedral apse windows. Champagne: Late 12th-century works foreshadowed Gothic style, evident in Reims Cathedral and Troyes Cathedral. Île-de-France and Eastern France: Limited remains make it difficult to assess trends, but the Laon Cathedral rose window shows elegance and a connection to Classical art. Grand Enterprises: Chartres Cathedral: This extensive project drew talent from various regions, leading to a more unified style across France. Bourges Cathedral: Windows from the first half of the century depict intricate narratives. Sens Cathedral: These windows demonstrate stylistic links to Chartres and Bourges, even extending to Canterbury Cathedral. Paris Spotlight: Sainte-Chapelle: Built in the mid-13th century, it features the most extensive stained glass narrative cycle ever created, reflecting Parisian court art of the time. Le Mans and Tours Cathedrals: Later windows in these cathedrals show the influence of Sainte-Chapelle. Stained Glass Stories in 13th Century England: A Glimpse Through Time While much of England's 13th-century stained glass has unfortunately been lost, some remarkable examples still shine brightly. Canterbury Cathedral: Takes center stage with two stunning sets of windows: The 12 Theological windows (c. 1200): Explore fundamental Christian beliefs through vibrant colors and intricate designs. St. Thomas Becket windows (c. 1200-1230): Celebrate the life and martyrdom of this prominent figure in English history. Lincoln Cathedral: Although only fragments remain, the windows created between 1200 and 1220 offer hints of their former glory. International Influences: Comparing these remaining English windows to French works reveals interesting connections: Canterbury and Sens: Share stylistic similarities, suggesting possible influence or even shared workshops. Lincoln and Paris: Might have had similar links based on stylistic hints, though this remains less clear. English Craftsmanship with Global Inspiration: While the influence of French models is evident, it's important to remember that the artists who created these English masterpieces were likely English themselves. They skillfully adapted international influences to create unique and beautiful works that reflected their own culture and artistic vision. Looking Ahead: The limited surviving examples leave us with tantalizing glimpses of England's vibrant 13th-century stained glass tradition. Further research and exploration may uncover more hidden treasures, helping us piece together a fuller picture of this remarkable art form in England. Stained Glass in Germanic Lands: A Unique Expression Beyond French Influence: While France dominated stained glass design in the 13th century, Germanic countries charted their own path. Their windows featured a distinct style: Dynamic: Agitated figures, expressive faces, and intricate backgrounds showcase a vibrant energy. Regionally Diverse: Different workshops had their own expressions, with Cologne being a prominent center. Cologne's Legacy: Full-length saint figures and the St. Kunibert window (c. 1220-30) showcase their unique use of elaborate geometric frames. Later works like the St. Nicholas window (c. 1240-50) continue this tradition. Other Influences: The Jesse tree window (c. 1225) in Freiburg reflects the metalwork style of Nicholas of Verdun. Franciscan church windows in Erfurt (c. 1230) draw inspiration from Byzantine models. This workshop even contributed to Assisi and Gotland. Beyond Germany: This distinct style spread, evident in windows in Naumburg, Strasbourg, and Frankfurt. Naumburg's Holy Knights and Virgins window stands in stark contrast to the delicate Parisian style. Italy's Beginnings: Early Italian windows were created by German craftsmen, like the Assisi windows (1230-1240). Later, native artists emerged, with Duccio di Buoninsegna and Guido da Siena leaving their mark on windows like the Siena Cathedral oculus (c. 1288). In Conclusion: Germanic countries brought a unique vibrancy and diversity to 13th-century stained glass, influencing even Italy in its early stages. This exploration highlights the rich tapestry of styles that existed beyond the dominant French influence.
Early 14th Century Stained Glass: A Journey Through Fairytales and Innovation Enchanting Tales and Regional Flavors: Early 14th century stained glass captivated viewers with its fairytale charm and gentle melancholy. Different regions expressed their unique styles: England: Delicate and poetic. Northern France: Virtuosic painting and playful humor. Germany: Lush greens, golds, and russets. A Bridge Between Gothic and Renaissance: This era witnessed the peak of Gothic style, while also showcasing early hints of the Renaissance to come. This artistic shift involved depicting depth and volume realistically, using techniques like shading and perspective. Innovation Spreads Across Europe: Italy: Pioneered new techniques like perspective, seen in the St. Anthony window at Assisi. Switzerland: The Habsburg church in Königsfelden showcased these Italian influences around 1325-1330. France: Rouen and Évreux cathedrals adopted these ideas by 1339. Germany: Augsburg and Vienna cathedrals, along with Vienna's east window (c. 1340), embraced spatial illusionism. England: Stanford-on-Avon's nave windows (c. 1330-1335) hint at early efforts. Canopies Gain Dimension: Canopies above figures, already popular in the 13th century, started incorporating depth and complexity. While initially more focused on design, they evolved into elaborate features, as seen in Vienna and Erfurt cathedrals. Different Paths to Beauty: While the 14th century saw artistic shifts towards realism and depth in Europe, the art of stained glass took two distinct paths. France and England, for instance, resisted Italian influences heavily. Flat Beauty: Instead of embracing perspective, they maintained flatness and surface unity. They countered the suggestion of depth with flat, patterned backgrounds. This can be seen in works like the choir windows of Évreux Cathedral and those at Saint-Ouen in Rouen. English Productivity: England, with Oxford, Coventry, and York as centers, saw a surge in stained glass production. The vast nave windows of York Minster stand as a testament to this. Possible French influences are seen in later York windows, likely crafted by an imported glazier from Rouen. Western England also had a thriving scene, evident in Wells Cathedral and Eaton Bishop. Lightness and Refinement: However, the best French and English work shines with a unique lightness of color and graphic refinement, achieved through extensive use of yellow stain. Geometric patterns also evolved, with simpler diamond shapes and delicate foliage designs replacing earlier styles. In conclusion: The early 14th century saw interesting divergences in stained glass. While some embraced new artistic trends, others held onto their own distinct styles, creating a diverse landscape of beauty across Europe. A Tale of Two Styles: Stained Glass in Germanic Lands Embracing Depth and Complexity: While France and England held onto flatness, the "Germanic" group (Germany, Bohemia, and Austria) embraced a bolder, 3D approach. Their key characteristics: Deeper, richer colors: Creating a more dramatic feel. Complex compositions: Layering elements for depth and intricate detail. Canopies as perspective showcases: Demonstrating mastery of spatial illusion. Shorter, stockier figures: Accentuating volume and physical presence. Brusque and contrasting style: Standing out from the elegance of their French and English counterparts. Examples of this style: Strassengel panels (c. 1350): Now in London, showcasing all the key features. St. Maria-am-Gestade windows (c. 1350-60): Early examples in Vienna. Erfurt Cathedral windows (c. 1360-70): Complex compositions spanning multiple panels. Unique Layout: A distinct feature of the Germanic group is the use of a single composition across multiple window sections, ignoring the natural divisions. This is partly due to the narrower and taller window openings in these regions. In essence: The early 14th century saw two distinct approaches to stained glass: the French/English preference for flatness and elegance, and the Germanic embrace of depth, complexity, and bolder expression. Each style contributed to the rich tapestry of this art form across Europe.
Beyond Courtliness: Stained Glass in the Late 14th and Early 15th Centuries While 1380-1430 stained glass often falls under the "International Gothic" label, it reflects more than just courtly tastes. While many windows survive, teasing out regional styles amidst complex patronage networks can be tricky. Despite this, distinct characteristics emerge. Elegance and sophistication reign, sometimes bordering on preciosity, alongside a growing interest in realistic portraits. If 13th-century glass showcased monumentality, and early 14th century glass captured warmth, describing this era is harder. It's both more realistic and introspective. Figures gain detailed features yet retain the majesty of earlier prophets. Examples include French windows by Hermann von Münster (1384-1392) and English windows by Thomas of Oxford (c. 1400). They feel both new and old - personal yet echoing a fading collective grandeur. Some artists delve into intricate, refined details, while others embrace a simpler, almost rustic style. This period boasts high-quality work, exemplified by France's "Royal" windows (c. 1395) and England's grand east window at York Minster (1405-1408). Softer Lines and New Influences: Stained Glass in Germanic Lands The early 14th century saw a shift in German and Austrian stained glass. The earlier "plastic style," characterized by bold lines and vivid colors, began to soften and refine. This was influenced by developments in other regions, including Austria. One important Austrian workshop, likely linked to the court, created several notable works. These include the window at St. Erhard church (c. 1386-95), the Viktring windows (c. 1400), and the Freisingerkapella windows at Klosterneuburg (c. 1410). Germany also saw a surge in stained glass during this period. The window donated by Johann von Tiefengruben to Erfurt Cathedral (c. 1400) showcased a lighter tone and more delicate style compared to earlier works there. The Rothenburg windows (c. 1400) and the Bessererkapelle cycle at Ulm Cathedral (c. 1420-30) are other noteworthy examples, demonstrating a refined and masterful technique. Beyond Gothic: A Changing Landscape The period between 1430 and 1550 witnessed a major transformation in art. The Gothic style waned, making way for the Renaissance. This shift also impacted stained glass. It began to move away from its traditional role as a powerful artistic expression and towards a more decorative function, mimicking the styles of fresco and easel paintings. Fading Elegance, New Horizons: Stained Glass in the Mid-15th Century While the International Gothic style continued to influence glass painting in the first half of the 15th century, its influence waned. Its characteristic elegance and ornate costumes can still be glimpsed in France's Le Mans Cathedral rose windows (c. 1440) and Angers Cathedral rose windows (1441-42). England saw similar echoes in the Great Malvern priory east window (c. 1423-39), All Souls College chapel windows (1441-47), and the Beauchamp Chapel windows commissioned in 1447 by the king's glazier, John Prudde. However, Germanic glass painters offered captivating exceptions, like the St. Lambrecht window (after 1424) now in Graz, Austria, and the charming Alsatian St. Katherine window (c. 1425-50) in Sélestat, France. Beyond Glamour: New Influences Emerge New movements were challenging the dominant style. A flourishing school of painting in Flanders, northern Europe, during this period offered a stark contrast to the International Gothic. While partly rooted in the Gothic style, Flemish painters embraced a more realistic approach and a keen eye for detail, almost defying the older style's idealized elegance and unrealistic portrayals. Stained Glass in a New Era: Challenges and Inspirations Limitations of Realism in Glass: The 15th century saw a surge in realism in art, but stained glass faced unique challenges. Translucent nature: Light passing through glass inherently creates a sense of unreality. Lead lines: Unlike painters, glass artists had to work around lead lines, emphasizing the flat surface and creating tension with depth illusions. Attempts to bridge this gap weren't entirely successful, sometimes even separating the lead lines from the design. This issue was further amplified by the increased use of vitreous enamel pigments from the mid-16th century onwards. Renaissance Influence and New Inspiration: Despite these limitations, the Renaissance wasn't lost on stained glass. Around 1500, Italian workshops began incorporating: Classical details: Borrowing ornamental elements from classical art and architecture. Engraving inspiration: Drawing ideas and compositions from contemporary engravings, particularly those of Albrecht Dürer. Stained Glass Boom: Flanders, England, and Artistic Exchange (1450-1550) This period saw no dip in the demand for stained glass. Two key regions stand out: Flanders: This powerhouse produced gems like the St. Gommaire church windows (c. 1475-1500) and the Anderlecht Virgin window (c. 1482). These works, though restored, showcase exceptional quality and echo the style of contemporary Flemish paintings. England: English stained glass took a more personal turn, catering to parish churches and individual believers. Powerful examples include the woodcut-like figures in East Harling, the emotional Pieta in Long Melford, and the expressive Martyrdom of St. Catherine in Clavering. Flemish Influence in England: Trade and political ties led to an influx of Flemish artists and artworks into England in the late 15th century. Many Flemish glaziers set up shop in London, contributing to disputes with the local guild. Court patronage and wealthy merchants favored this "imported style." Outstanding examples include the Fairford church windows (c. 1480) and King's College Chapel windows (1515-31), possibly designed by Dirk Vellert. French Windows: Flemish Influence and Local Flair The rise of realism in stained glass spread to France, fueled by interactions with Flemish artists. Examples include: Burgundy Chapel windows (c. 1430-40): Flemish artists crafted these now-London-based windows, showcasing their distinctive style. Jacques Coeur window at Bourges Cathedral: This window clearly reflects the Flemish influence in its design. French artists weren't far behind, with Normandy boasting an impressive collection of windows from various workshops. Two leading figures of the early 16th century were: Arnoult of Nijmegen (c. 1470-1540): Worked in both Flanders and France, his notable works include windows for Tournai Cathedral and the impressive "Jesse window" in Rouen. Le Prince family: Renowned for their "Jesse tree window" in Beauvais, among other stunning pieces. Germany: The Prolific Peter Hemmel von Andlau In Germany, the later 15th century saw a surge in activity thanks to Peter Hemmel von Andlau (active 1430-1500) and his workshop. His works, like those for St. Wilhelm's Church in Strasbourg, showcased the evolving style of the era. Italian Glory, Flemish Influence: Stained Glass in Italy and Spain (1450-1600) Italy: Renaissance Masters Light Up Florence and Beyond The early 15th century saw a stunning collaboration in Florence: Ghiberti, Donatello, Castagno, and Uccello created windows for the Santa Maria del Fiore cathedral cupola. Ghirlandaio continued the tradition in the late 15th century with windows for Santa Maria Novella. For sheer technical mastery, look no further than the work of French artist Guglielmo de Marcillat (1467-1529), especially his windows in Arezzo Cathedral. Milan Cathedral’s construction fostered a local school, featuring renowned artists like Conrad Munch (Germany) and Nicolo da Varallo. This school thrived through the 16th and 17th centuries. Spain: Flemish Flair in Seville, Leon, and Avila While Spain’s 16th-century windows mainly came from imported Flemish artists, they still hold merit, particularly in Seville, Leon, and Avila.
Stained Glass in the 17th and 18th Centuries: Beyond Church Walls Challenges and New Trends: The 17th and 18th centuries presented unique challenges for stained glass. Baroque art's focus on illusionistic depth wasn't easily achievable in the translucent medium. This often led artists to: Finish medieval window cycles: Completing existing church windows. Create "modern" art: Designing pieces for buildings not designed for stained glass. Rise of Heraldic Panels: An interesting trend emerged in the late 16th and early 17th centuries: intimate, portable heraldic panels. Popular in Switzerland, the Low Countries, and Germany, these small (around 2ft high) pieces showcased the artist's skill and further distanced stained glass from its architectural role. Painted Glass: Decline or Evolution? The use of vitreous enamels in the 17th and 18th centuries sparked debate. Some saw it as the "final decline" of the art form, transforming windows into painted canvases. Examples include: St. Janskerk windows: Works by the Crabeth brothers in Holland (late 16th century) and the van Linges (1620-40) showcased this approach. Abraham van Linge's Oxford windows: These pieces (1630-1640) demonstrate the lead lines losing their integral role, becoming mere grids holding painted glass. This style continued with English artists like Henry Gyles, the Price and Peckitt families, and even Sir Joshua Reynolds (New College Chapel window, 1778).
Stained Glass Reborn: The 19th Century Revival From Romanticism to Revitalization: The Gothic revival, fueled by the Romantic movement, breathed new life into stained glass. This interest in Gothic art led to a deep dive into both the technical aspects and historical context of medieval glass painting. Pioneering the Revival: In France, E. Viollet-Le-Duc and in England, Charles Winston became pioneers, with Winston playing a crucial role in: Partnering with glaziers to improve the technical quality of colored glass. Writing the first comprehensive study on stained glass in 1847. Collaborating with W.E. Chance, who successfully produced "antique" glass in 1863. Early Attempts and Challenges: Initial efforts in the 19th century focused on replicating the styles and methods of the early Gothic period. However, aesthetic appreciation often fell short, leading to mass-produced, stereotypical works, especially in Germany. The Burne-Jones and Morris Partnership: The latter part of the century saw a significant shift in England with Edward Burne-Jones and William Morris. Burne-Jones designed stunning visuals. Morris adapted them to the stained glass medium. Their work, seen in windows like those for Christ Church, Oxford, Salisbury Cathedral, and Birmingham Cathedral, reintegrated the lead lines as an integral part of the design. Across the Atlantic: In the U.S., John La Farge and Louis Comfort Tiffany were instrumental in sparking American interest in stained glass. Legacy of the 19th Century: While the 20th century may not favor the style and sentiment of 19th-century stained glass, its historical significance in reviving the basic techniques and sparking renewed interest is undeniable. Stained Glass Goes Modern: Art Nouveau and Beyond While Art Nouveau artists used stained glass decoratively in lamps and other objects, architects at the turn of the century took it a step further: Victor Horta (Hotel Solvay, Brussels, 1895-1910): Integrated stained glass as a key element in the modern architecture. Antonio Gaudí (Chapel of Santa Coloma de Cervelló, 1898-1914): Used stained glass in his unique architectural vision. Charles Rennie Mackintosh (Willow Tea Rooms, Glasgow, 1904): Incorporated stained glass into his iconic design. Frank Lloyd Wright (Coonley House, Riverside, Illinois, 1908 & Unity Church, Oak Park, Illinois, 1906): Utilized stained glass in his houses of worship and residences. These examples showcased the beginnings of a truly modern approach to stained glass, even though their purpose remained primarily decorative. They paved the way for further exploration of the medium's potential in modern architecture.
Stained Glass in the 20th Century: Three Streams of Innovation The 20th century saw three key trends in stained glass: 1. Architects as Visionaries: Following the lead of their predecessors, architects like Frank Lloyd Wright and Charles Rennie Mackintosh, modern architects embraced stained glass. New structural engineering allowed for innovative window systems, pushing the boundaries of design. 2. Easel Painters Take Flight: Especially after World War II in France, renowned painters like Henri Matisse and Fernand Léger turned their talents to stained glass. This infused the medium with powerful new imagery and artistic expression. 3. A German Renaissance: During the 1950s and 60s, Germany witnessed the first truly modern school of stained glass since the Middle Ages. Artists like Johan Thorn Prikker explored the unique technical and expressive potential of the medium. Early Experiments and Pioneers: While the bulk of significant 20th-century stained glass emerged after WWII, earlier experiments paved the way. Auguste Perret's Notre-Dame church (1922-23): Symbolist painter Maurice Denis transformed the entire wall into a geometric stained glass masterpiece. Johan Thorn Prikker's windows at St. George church (1930): This work showcased innovative lead line use, bold colors, and a monumental quality unmatched even in medieval windows. Stained Glass Takes Center Stage: Post-WWII Innovations After World War II, stained glass experienced a remarkable resurgence, becoming a key architectural element rather than just decoration. Three groundbreaking examples showcase this shift: 1. Le Corbusier's Notre-Dame-du-Haut (France, 1950-55): The massive south wall is punctuated by dramatic, "crude" yet effective stained glass windows. Light explodes inside, creating a powerful atmosphere. 2. Church of Maria Königin (Germany, 1953-54): An entire sidewall transforms into a luminous, silvery veil of stained glass. The park outside is partially revealed, creating a dazzling effect. 3. First Presbyterian Church (US, 1958): The central section is nearly encircled with large panels of stained glass and concrete. Despite their stylistic differences, these buildings all demonstrate: Stained glass is no longer just decoration, but a central element shaping the atmosphere. The medium is explored boldly, pushing its expressive and spatial potential. Parisian Masters Meet Stained Glass: A Dazzling Collaboration Matisse and Léger Lead the Way: The 20th century saw renowned Parisian painters like Henri Matisse and Fernand Léger bring fresh perspectives to stained glass. Their unique styles translated beautifully into this new medium: Matisse's Chapel of the Rosary (1948-52): Inspired by his colored-paper collages, these simple yet stunning windows create a magical play of color within the chapel's white space. Léger's Sacré-Coeur windows (1950-52): His bold, emblematic style showcased the expressive potential of stained glass combined with concrete. More Artistic Explorations: Beyond these leading figures, other notable contributions emerged: Léon Zack's Notre-Dame-des-Pauvres window (1955): This frieze-like window features a daring sequence of colors and delicate lead lines reminiscent of Paul Klee's art. Works by Braque, Villon, Rouault, Chagall, and Manessier: While perhaps less "authoritative" in their approach, these artists also left their mark on stained glass with noteworthy creations. German Stained Glass Renaissance: From Ashes to Innovation Following World War II, German artists like Dominikus Böhm, Rudolf Schwarz, and Anton Wendling revived the art of stained glass, inspiring a new generation. Drawing Inspiration and Pushing Boundaries: Inspired by Johan Thorn Prikker, these artists explored various aspects of stained glass: Special properties of "opal-flashed antique glass" Expressive potential of lead lines Bold textures and reliefs using slab glass and concrete This resulted in unique color harmonies not seen since the "Augsburg prophets" style. Key Examples of the Rhenish School: Georg Meistermann: Dom Sepulchur windows (1957), Würzburg Complete set for St. Matthew church (1964), Sobernheim Ludwig Schaffrath: Grisaille windows for Aachen cloister (1962-65) High triple-gabled windows for St. Peter's Church (1964), Birkesdorf Innovative slab/rod-glass sanctuary window for St. Matthew's Church (1966-67), Leverkusen Wilhelm Buschulte: Rich color harmonies in Essen Cathedral (1964) and SS. Peter and Paul church (1967), Wegsburg Johannes Schreiter: Abstract Expressionist windows for St. Margaret church (1961), Bürgstadt Collaboration and Legacy: These artists, trained for large-scale cathedral windows, collaborated with leading architects. The result? Arguably the most impressive collection of stained glass since the Middle Ages.
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