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X England, Nottingham (?) - Triptych with Passion Stories (second half of the 15th century) - Partly painted alabaster, carved and gilded wood, pastille, églomise's glass - Museo di Capodimonte Naples
X England, Nottingham (?) - Triptych with Passion Stories (second half of the 15th century) - Partly painted alabaster, carved and gilded wood, pastille, églomise's glass - Museo di Capodimonte Naples
Die Wände dieses Ankleidzimmers sind mit einer historischen Wandbespannung versehen. Die fünf scherenschnittartigen Silhouettenbilder an den Wänden sind Hinterglasmalereien, die das Leben adliger Damen und Herren bei Hof zeigen. Schränke gab es im Ankleidezimmer nicht. Wenn die Herzogin zurecht gemacht wurde, brachten die Zofen die Kleidung aus dem Dienstbodentrakt herunter.
The walls of the dressing chamber are covered with a historical, green wall covering.The decorativwe works on the walss, reminiscent of paper-cut silhouettes, verre églomisé paintings, an art form in which the images are painted directly onto the glass. They depict scenes in the life of aristocratic ladies and gentlemen at court. There were no wardrobes in the dressing room. When the duchess was being dressed, the lady's mais would bring the clothing from the servants' wing.
Die Lübecker Bischöfe errichteten im 12. Jahrhundert am Eutiner See ihren Verwaltungssitz. Im Laufe des 13. Jahrhunderts wächst der Hof zu einer mittelalterlichen Burg aus einzelnen Häusern, Scheunen, Türmen und eigener Kapelle. 1320 wird Eutin ständiger bischöflicher Wohnsitz, das Bischofsamt bleibt in Lübeck..Das von ihnen beherrschte Territorium, genannt Hochstift oder Fürstbistum Lübeck umfasste ein Gebiet zwischen den Städten Plön und Lübeck, die beide nicht zum Herrschaftsgebiet gehörten. Die Wahl des ersten Fürstbischofs aus dem Haus der Herzöge von Schleswig-Holstein-Gottorf im Jahr 1586 markiert den Beginn einer neuen Epoche. Vertraglich wird festgelegt, dass von da an dieses Amt bei diesem Hause bleibt. Eutin wird neben Schloss Gottorf die zweite landesherrschaftliche Residenz. Nach der Reformation wird das Gebiet zu einem weltlichen Fürstentum, behält jedoch seinen Namen. In den folgenden Jahrzehnten bauen die Fürstbischöfe die Anlage immer weiter aus, die nach der Reformation . Ab ca. 1640 zeigt sich das Schloss als geschlossene Vierflügelanlage. 1689 zerstört eine Brandkatastrophe große Teile des Schlosses. Nach dem Wiederaufbau erfolgen ab 1716 großzügige Umbauten im zeitgemäßen Stil repräsentativer Barockarchitektur. 1773 wird das Fürstbistum Lübeck im russisch-dänischen Tauschvertrag, dem sogenannten Vertrag von Zarskoje Selo, mit dem Herzogtum Oldenburg vereint. Dadurch werden die Fürstbischöfe aus dem Hause Schleswig-Holstein-Gottorf auch zu Herzögen von Oldenburg. Ab 1803 verlegen die Herzöge ihre Hofhaltung vollständig nach Oldenburg und Eutin wird Sommerresidenz. In dieser Zeit finden zahlreiche Gelehrte, Dichter oder Maler wie Johann Heinrich Wilhelm Tischbein den Weg an den Hof. Der barocke Schlossgarten wird zu einem weitläufigen englischen Landschaftsgarten umgewandelt. 1815 wird das Herzogtum Oldenburg zum Großherzogtum erhoben.1918 kommt es mit dem Ende der konstitutionellen Monarchie in Deutschland auch zum Thronverzicht des Großherzogs von Oldenburg. Schloss Eutin bleibt im Besitz der herzoglichen Familie,Zum Ende des Zweiten Weltkrieges sind bis Anfang der Fünfzigerjahre Flüchtlinge im Schloss einquartiert. 1961 können nach langjähriger Restaurierung erste Räumlichkeiten wieder zugänglich gemacht werden. 1967 wird Schloss Eutin unter Denkmalschutz gestellt.1992 bringt die herzogliche Familie nach weiteren Sanierungs- und Restaurierungsmaßnahmen das Schloss, umfangreiche Teile der Sammlung und den Schlossgarten in die öffentlich-rechtliche Stiftung Schloss Eutin ein. Das Land Schleswig-Holstein übernimmt künftig weitere Sanierungs- und Restaurierungsarbeiten und die Instandhaltung. Seit 2006 ist das Schloss Eutin wieder als Museum zugänglich.
www.schloss-eutin.de/schloss-gaerten/schloss/
Eutin is a district town in Schleswig Holstein with 12,000 inhabitants and a rich history.The bishops of Lübeck built their administrative seat at Lake Eutin in the 12th century. In the course of the 13th century, the court grew into a medieval castle consisting of individual houses, barns, towers and its own chapel. In 1320 Eutin becomes the permanent episcopal residence, the bishop's office remains in Lübeck..The territory they ruled, called the high diocese or prince-bishopric of Lübeck, comprised an area between the towns of Plön and Lübeck, neither of which belonged to the dominion. The election of the first prince-bishop from the house of the dukes of Schleswig-Holstein-Gottorf in 1586 marked the beginning of a new era. It is stipulated by contract that from then on this office remains with this house. Eutin becomes the second sovereign residence alongside Gottorf Palace. After the Reformation, the area becomes a secular principality, but retains its name. In the following decades, the prince-bishops continue to expand the castle complex, which after the Reformation . From around 1640 the castle appears as a closed four-winged complex. In 1689, a catastrophic fire destroys large parts of the castle. After reconstruction, the castle, or rather palace, was generously rebuilt from 1716 in the contemporary style of representative Baroque architecture. In 1773, the Prince-Bishopric of Lübeck is united with the Duchy of Oldenburg in the Russian-Danish exchange treaty, the so-called Treaty of Tsarskoe Selo. As a result, the prince-bishops from the House of Schleswig-Holstein-Gottorf also become dukes of Oldenburg. From 1803, the dukes move their court completely to Oldenburg and Eutin becomes their summer residence. During this time, numerous scholars, poets and painters such as Johann Heinrich Wilhelm Tischbein found their way to the court. The Baroque palace garden is transformed into an extensive English landscape garden. In 1815, the Duchy of Oldenburg was elevated to a Grand Duchy. In 1918, with the end of the constitutional monarchy in Germany, the Grand Duke of Oldenburg abdicated the throne. Eutin Palace remains in the possession of the ducal family. At the end of the Second World War, refugees are accommodated in the palace until the beginning of the 1950s. In 1961, after many years of restoration, the first rooms are made accessible again. In 1967, Eutin Palace is listed asa cuiltural monument. In 1992, after further renovation and restoration work, the ducal family transferred the palace, extensive parts of the collection and the palace garden to the Eutin Palace Foundation under public law. From then on, the state of Schleswig-Holstein has been responsible for further renovation and restoration work as well as maintenance. Eutin Palace has been open to the public as a museum again since 2006.
Paul Klee (18 December 1879 – 29 June 1940) was a Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee (1849–1940) and Swiss singer Ida Marie Klee, née Frick (1855–1921).[a] His sister Mathilde (died 6 December 1953) was born on 28 January 1876 in Walzenhausen. Their father came from Tann and studied singing, piano, organ and violin at the Stuttgart Conservatory, meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a music teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his music skills as his parents encouraged and inspired him throughout his life. In 1880, his family moved to Bern, where they eventually, in 1897, after a number of changes of residence, moved into their own house in the Kirchenfeld district [de]. From 1886 to 1890, Klee visited primary school and received, at the age of 7, violin classes at the Municipal Music School. He was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association.
In his early years, following his parents’ wishes, Klee focused on becoming a musician; but he decided on the visual arts during his teen years, partly out of rebellion and partly because of a belief that modern music lacked meaning for him. He stated, "I didn't find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement." As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore radical ideas and styles. At sixteen, Klee’s landscape drawings already show considerable skill.
Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking. During his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his final exams at the "Gymnasium" of Bern, where he qualified in the Humanities. With his characteristic dry wit, he wrote, "After all, it’s rather difficult to achieve the exact minimum, and it involves risks." On his own time, in addition to his deep interests in music and art, Klee was a great reader of literature, and later a writer on art theory and aesthetics.
With his parents' reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack any natural color sense. He later recalled, "During the third winter I even realized that I probably would never learn to paint." During these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists' models. He had an illegitimate son in 1900 who died several weeks after birth.
After receiving his Fine Arts degree, Klee went to Italy from October 1901 to May 1902 with friend Hermann Haller. They stayed in Rome, Florence, and Naples, and studied the master painters of past centuries. He exclaimed, "The Forum and the Vatican have spoken to me. Humanism wants to suffocate me." He responded to the colors of Italy, but sadly noted, "that a long struggle lies in store for me in this field of color." For Klee, color represented the optimism and nobility in art, and a hope for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires. Returning to Bern, he lived with his parents for several years, and took occasional art classes. By 1905, he was developing some experimental techniques, including drawing with a needle on a blackened pane of glass, resulting in fifty-seven works including his Portrait of My Father (1906). In the years 1903-5 he also completed a cycle of eleven zinc-plate etchings called Inventions, his first exhibited works, in which he illustrated several grotesque characters. He commented, "though I'm fairly satisfied with my etchings I can't go on like this. I’m not a specialist." Klee was still dividing his time with music, playing the violin in an orchestra and writing concert and theater reviews.
Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the following year. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house and tended to his art work. His attempt to be a magazine illustrator failed. Klee's art work progressed slowly for the next five years, partly from having to divide his time with domestic matters, and partly as he tried to find a new approach to his art. In 1910, he had his first solo exhibition in Bern, which then traveled to three Swiss cities.
In January 1911 Alfred Kubin met Klee in Munich and encouraged him to illustrate Voltaire's Candide. His resultant drawings were published later in a 1920 version of the book edited by Kurt Wolff. Around this time, Klee's graphic work increased. His early inclination towards the absurd and the sarcastic was well received by Kubin, who befriended Klee and became one of his first significant collectors. Klee met, through Kubin, the art critic Wilhelm Hausenstein in 1911. Klee was a foundation member and manager of the Munich artists' union Sema that summer. In autumn he made an acquaintance with August Macke and Wassily Kandinsky, and in winter he joined the editorial team of the almanac Der Blaue Reiter, founded by Franz Marc and Kandinsky. On meeting Kandinsky, Klee recorded, "I came to feel a deep trust in him. He is somebody, and has an exceptionally beautiful and lucid mind." Other members included Macke, Gabriele Münter and Marianne von Werefkin. Klee became in a few months one of the most important and independent members of the Blaue Reiter, but he was not yet fully integrated.
The release of the almanac was delayed for the benefit of an exhibition. The first Blaue Reiter exhibition took place from 18 December 1911 to 1 January 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend it, but in the second exhibition, which occurred from 12 February to 18 March 1912 in the Galerie Goltz, 17 of his graphic works were shown. The name of this art exhibition was Schwarz-Weiß, as it only regarded graphic painting. Initially planned to be released in 1911, the release date of the Der Blau Reiter almanac by Kandinsky and Marc was delayed in May 1912, including the reproduced ink drawing Steinhauer by Klee. At the same time, Kandinsky published his art history writing Über das Geistige in der Kunst.
The association opened Klee's mind to modern theories of color. His travels to Paris in 1912 also exposed him to the ferment of Cubism and the pioneering examples of "pure painting", an early term for abstract art. The use of bold color by Robert Delaunay and Maurice de Vlaminck also inspired him. Rather than copy these artists, Klee began working out his own color experiments in pale watercolors and did some primitive landscapes, including In the Quarry (1913) and Houses near the Gravel Pit (1913), using blocks of color with limited overlap. Klee acknowledged that "a long struggle lies in store for me in this field of color" in order to reach his "distant noble aim." Soon, he discovered "the style which connects drawing and the realm of color."
Klee's artistic breakthrough came in 1914 when he briefly visited Tunisia with August Macke and Louis Moilliet and was impressed by the quality of the light there. He wrote, "Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever... Color and I are one. I am a painter." With that realization, faithfulness to nature faded in importance. Instead, Klee began to delve into the "cool romanticism of abstraction". In gaining a second artistic vocabulary, Klee added color to his abilities in draftsmanship, and in many works combined them successfully, as he did in one series he called "operatic paintings". One of the most literal examples of this new synthesis is The Bavarian Don Giovanni (1919).
After returning home, Klee painted his first pure abstract, In the Style of Kairouan (1914), composed of colored rectangles and a few circles. The colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with other colored blocks to create a color harmony analogous to a musical composition. His selection of a particular color palette emulates a musical key. Sometimes he uses complementary pairs of colors, and other times "dissonant" colors, again reflecting his connection with musicality.
A few weeks later, World War I began. At first, Klee was somewhat detached from it, as he wrote ironically, "I have long had this war in me. That is why, inwardly, it is none of my concern." Klee was conscripted as a Landsturmsoldat (soldier of the reserve forces in Prussia or Imperial Germany) on 5 March 1916. The deaths of his friends August Macke and Franz Marc in battle began to affect him. Venting his distress, he created several pen and ink lithographs on war themes including Death for the Idea (1915). After finishing the military training course, which began on 11 March 1916, he was committed as a soldier behind the front. Klee moved on 20 August to the aircraft maintenance company[b] in Oberschleissheim, executing skilled manual work, such as restoring aircraft camouflage, and accompanying aircraft transports. On 17 January 1917, he was transferred to the Royal Bavarian flying school in Gersthofen (which 54 years later became the USASA Field Station Augsburg) to work as a clerk for the treasurer until the end of the war. This allowed him to stay in a small room outside of the barrack block and continue painting.
He continued to paint during the entire war and managed to exhibit in several shows. By 1917, Klee's work was selling well and art critics acclaimed him as the best of the new German artists. His Ab ovo (1917) is particularly noteworthy for its sophisticated technique. It employs watercolor on gauze and paper with a chalk ground, which produces a rich texture of triangular, circular, and crescent patterns. Demonstrating his range of exploration, mixing color and line, his Warning of the Ships (1918) is a colored drawing filled with symbolic images on a field of suppressed color.
In 1919, Klee applied for a teaching post at the Academy of Art in Stuttgart. This attempt failed but he had a major success in securing a three-year contract (with a minimum annual income) with dealer Hans Goltz, whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable.
Klee taught at the Bauhaus from January 1921 to April 1931. He was a "Form" master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials. Klee welcomed that there were many conflicting theories and opinions within the Bauhaus: "I also approve of these forces competing one with the other if the result is achievement."
Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Lyonel Feininger, and Alexej von Jawlensky; formed in 1923, they lectured and exhibited together in the USA in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists. Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major monograph on Klee's work was published, written by Will Grohmann.
Klee also taught at the Düsseldorf Academy from 1931 to 1933, and was singled out by a Nazi newspaper, "Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a thoroughbred Arab, but he's a typical Galician Jew." His home was searched by the Gestapo and he was fired from his job. His self-portrait Struck from the List (1933) commemorates the sad occasion. In 1933-4, Klee had shows in London and Paris, and finally met Pablo Picasso, whom he greatly admired. The Klee family emigrated to Switzerland in late 1933.
Klee was at the peak of his creative output. His Ad Parnassum (1932) is considered his masterpiece and the best example of his pointillist style; it is also one of his largest, most finely worked paintings. He produced nearly 500 works in 1933 during his last year in Germany. However, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma after his death. The progression of his fatal disease, which made swallowing very difficult, can be followed through the art he created in his last years. His output in 1936 was only 25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso. Klee's simpler and larger designs enabled him to keep up his output in his final years, and in 1939 he created over 1,200 works, a career high for one year. He used heavier lines and mainly geometric forms with fewer but larger blocks of color. His varied color palettes, some with bright colors and others sober, perhaps reflected his alternating moods of optimism and pessimism. Back in Germany in 1937, seventeen of Klee's pictures were included in an exhibition of "Degenerate art" and 102 of his works in public collections were seized by the Nazis.
Klee suffered from a wasting disease, scleroderma, toward the end of his life, enduring pain that seems to be reflected in his last works of art. One of his last paintings, Death and Fire, features a skull in the center with the German word for death, "Tod", appearing in the face. He died in Muralto, Locarno, Switzerland, on 29 June 1940 without having obtained Swiss citizenship, despite his birth in that country. His art work was considered too revolutionary, even degenerate, by the Swiss authorities, but eventually they accepted his request six days after his death. His legacy comprises about 9,000 works of art. The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough." He was buried at Schosshaldenfriedhof, Bern, Switzerland.
Klee has been variously associated with Expressionism, Cubism, Futurism, Surrealism, and Abstraction, but his pictures are difficult to classify. He generally worked in isolation from his peers, and interpreted new art trends in his own way. He was inventive in his methods and technique. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He often combined them into one work. He used canvas, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint. Klee employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as oil with watercolor, watercolor with pen and India ink, and oil with tempera.
He was a natural draftsman, and through long experimentation developed a mastery of color and tonality. Many of his works combine these skills. He uses a great variety of color palettes from nearly monochromatic to highly polychromatic. His works often have a fragile childlike quality to them and are usually on a small scale. He often used geometric forms and grid format compositions as well as letters and numbers, frequently combined with playful figures of animals and people. Some works were completely abstract. Many of his works and their titles reflect his dry humor and varying moods; some express political convictions. They frequently allude to poetry, music and dreams and sometimes include words or musical notation. The later works are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, "Even if you hadn’t told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."
Pamela Kort observed: "Klee's 1933 drawings present their beholder with an unparalleled opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern with the possibilities of parody and wit. Herein lies their real significance, particularly for an audience unaware that Klee's art has political dimensions."
Among the few plastic works are hand puppets made between 1916 and 1925, for his son Felix. The artist neither counts them as a component of his oeuvre, nor does he list them in his catalogue raisonné. Thirty of the preserved puppets are stored at the Zentrum Paul Klee, Bern.
Some of Klee's early preserved children's drawings, which his grandmother encouraged, were listed on his catalogue raisonné. A total of 19 etchings were produced during the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions), which were presented in June 1906 at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens 'Secession'" (International Art Exhibition of the Association for Graphic Arts, Munich, Secession), his first appearance as a painter in the public. Klee had removed the third Invention, Pessimistische Allegorie des Gebirges (Pessimistic Allegory of the Mountain), in February 1906 from his cycle. The satirical etchings, for example Jungfrau im Baum/Jungfrau (träumend) (Virgin on the tree/Virgin (dreaming)) from 1903 and Greiser Phoenix (Aged Phoenix) from 1905, were classified by Klee as "surrealistic outposts". Jungfrau im Baum ties on the motive Le cattive madri (1894) by Giovanni Segantini. The picture was influenced by grotesque lyric poetries of Alfred Jarry, Max Jacob and Christian Morgenstern.[68] It features an cultural pessimism, which can be found at the turn of the 20th century in works by Symbolists. The Invention Nr. 6, the 1903 etching Zwei Männer, einander in höherer Stellung vermutend (Two Men, Supposing to be in Major Position), depicts two naked men, presumably emperor Wilhelm II and Franz Joseph I of Austria, recognizable by their hairstyle and beards. As their clothes and insignia were bereft, "both of them have no clue if their conventional salute […] is in order or not. As they assume that their counterpart could have been higher rated", they bow and scrape.
Klee began to introduce a new technique in 1905: scratching on a blackened glass panel with a needle. In that manner he created about 57 Verre églomisé pictures, among those the 1905 Gartenszene (Scene on a Garden) and the 1906 Porträt des Vaters (Portrait of a Father), with which he tried to combine painting and scratching. Klee's solitary early work ended in 1911, the year he met and was inspired by the graphic artist Alfred Kubin, and became associated with the artists of the Blaue Reiter.
During his twelve-day educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cézanne and Robert Delaunays' cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works In den Häusern von Saint-Germain (In the Houses of Saint-Germain) and Straßencafé (Streetcafé). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as Abstract and Farbige Kreise durch Farbbänder verbunden (Colored Circles Tied Through Inked Ribbons). He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world.
Under the impression of his military service he created the painting Trauerblumen (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in Blumenmythos (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes.
In the 1918 watercolor painting Einst dem Grau der Nacht enttaucht, a compositional implemented poem, possible written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablösung" (changing of the guard) of his art.[74] Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The Villa R (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.
His works during this time include Camel (in rhythmic landscape with trees) as well as other paintings with abstract graphical elements such as betroffener Ort (Affected Place) (1922). From that period he created Die Zwitscher-Maschine (The Twittering Machine), which was later removed from the National Gallery. After being named defamatory in the Munich exhibition "Entartete Kunst", the painting was later bought by the Buchholz Gallery, New York, and then transferred in 1939 to the Museum of Modern Art. The "twittering" in the title refers to the open-beaked birds, while the "machine" is illustrated by the crank.
In 1931, Klee transferred to Düsseldorf to teach in the Akademie; the Nazis shut down the Bauhaus soon after.[78] During this time, Klee illustrated a series of guardian angels. Among these figurations is "In Engelshut" (In the Angel's Care). Its overlaying technique evinces the polyphonic character of his drawing method between 1920 and 1932 .
The 1932 painting Ad Parnassum was also created in the Düsseldorfer period. With 100 cm × 126 cm (39 in × 50 in) it is one of his largest paintings, as he usually worked with small formats. In this mosaic-like work in the style of pointillism he combined different techniques and compositional principles. Influenced by his trip to Egypt from 1928 to 1929, Klee built a color field from individually stamped dots, surrounded by likewise stamped lines, which results in a pyramid. Above the roof of the "Parnassus" there is a sun. The title identifies the picture as the home of Apollo and the Muses. During his 1929 travels through Egypt, Klee developed a sense of connection to the land, described by art historian Olivier Berggruen as a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and at night, the movement of the stars felt even more palpable. In the architecture of the ancient funerary moments Klee discovered a sense of proportion and measure in which human beings appeared to establish a convincing relationship with the immensity of the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had been built."[81] In 1933, the last year in Germany, he created a range of paintings and drawings; the catalogue raisonné comprised 482 works. The self-portrait in the same year – with the programmatic title von der Liste gestrichen (removed from the list) – provides information about his feeling after losing professorship. The abstract portrait was painted in dark colors and shows closed eyes and compressed lips, while on the back part of his head there is a large "X", symbolizing that his art was no longer valued in Germany.
In this period Klee mainly worked on large-sized pictures. After the onset of illness, there were about 25 works in the 1936 catalogue, but his productivity increased in 1937 to 264 pictures, 1938 to 489, and 1939 – his most productive year – to 1254. They dealt with ambivalent themes, expressing his personal fate, the political situation and his joke. Examples are the watercolor painting Musiker (musician), a stickman face with partially serious, partially smiling mouth; and the Revolution des Viadukts (Revolution of the Viadukt), an anti-fascist art. In Viadukt (1937) the bridge arches split from the bank as they refuse to be linked to a chain and are therefore rioting.[83] Since 1938, Klee worked more intensively with hieroglyphic-like elements. The painting Insula dulcamara from the same year, which is one of his largest (88 cm × 176 cm (35 in × 69 in)), shows a white face in the middle of the elements, symbolizing death with its black-circled eye sockets. Bitterness and sorrow are not rare in much of his works during this time.
Klee created in 1940 a picture which strongly differs from the previous works, leaving it unsigned on the scaffold. The comparatively realistic still life, Ohne Titel, later named as Der Todesengel (Angel of Death), depicts flowers, a green pot, sculpture and an angel. The moon on black ground is separated from these groups. During his 60th birthday Klee was photographed in front of this picture.(Wikipedia).
I think that it's fantastic that the original shopfronts are kept no matter what the product. If this shop was in London it would have been 'modernised' long ago, thank goodness the French have more respect for their old shopfronts than the English do. On the corner of Rue des Francs-Bourgeois and Rue de Sevigne in Le Marais.
دختری با جام شراب ، نقاشی پشت شیشه ای معکوس، سده ۱۹ ترسایی، اندازه قاب ۶۲.۶ در ۴۳.۱ سانتیمتر
A reverse glass painting
Persia, 19th century
portrait of a maiden holding a small glass beaker, with a landscape in the background, mounted and framed
62.6 x 43.1 cm.(with frame) "Reverse-glass painting, or églomisé, introduced during the early Qajar period, probably evolved from the mirrorwork in geometric and vegetal patterns that had been favoured for palace interiors since the Safavid period. As was the case with enamelwork, reverse-glass painting was first practiced in the court ateliers, where imported models were readily available.
Ken Davis original design, for our Adobe Backroom Gallery show
"This famous linguist once said that of all the phrases in the English language, of all the endless combinations of words in all of history, that Cellar Door is the most beautiful."
Josh Luke original, for our Adobe Backroom Gallery show. I think he plans to use this for his own sign shop, after his move to Boston.
Eglomise glass "Map of London" has been installed at Rosewood Hotel, London. #rosewoodhotel , #london ,⠀ #newyork , #eglomise , www.artspacenyc
The fireplace surround in this room comes from a Society Hill house in Philadelphia, late eighteenth early nineteenth century. The marble is from King of Prussia, Pennsylvania. The paneling and cupboards are from Virginia ca. 1760.
Over the fireplace is a verre églomisé China trade painting.
Maker: Jacques-Athanase-Joseph Clouzard (1820-1903) & Charles Soulier (1840-1876)
Born: France
Active: France
Medium: albumen on glass stereoview
Size: 6.75 in x 3.25 in
Location: Bohemia
Object No. 2018.0025
Shelf: B-36
Publication: John B Cameron & Janice g. Schimmelman, The Glass Stereoviews of Ferrier & Soulier, 1852-1908, The Collodion Press, Rochester, MI, 2016, pl 112, pg 177
David Hanson, Checklist of Photomechanical Processes and Printing 1825-1910, 2017, pg 129
Other Collections: GEM
Provenance: uk3-d
Rank: 90
Notes: Written in pencil below image verso - 308 Pont de Prague, Bohemia, Breveté S.G.D.G (breveté sans garantie du gouvernment - patented without state guarantee). This image was first listed in the Gaudin & Freres 1856 catalog mounted with a single eglomise and three pieces of glass. It received high praise when the Photographic Journal (Feb. 5, 1857) declared "MM Clouzard and Soulier reached and perhas exceeded M. Ferrier, they deserve first prize: their stereoscopic view of the bridge in Prague has an amazing effect." The Prague Bridge (renamed the Charles Bridge in 1870) with its Gothic tower was built in the 14th century. This view looks west across the river Vltava. In 1854 Clouzard & Soulier obtained a patent for a transparent passe-partout glass stereoview, which eliminated the need for a third piece of glass, a milestone in the international production of glass stereoviews and at some point after that produced this stereoview. This image was later used by Fox Talbot a few years later to make an experimental photoglyphic engraving. Mentioned in Crookes to Talbot, Nov. 26, 1858.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Madonna and Child
www.metmuseum.org/art/collection/search/437248
Artist:Paolo di Giovanni Fei (Italian, San Quirico, active by 1369–died 1411)
Date:1370s
Medium:Tempera on wood, gold ground
Dimensions:Overall, with engaged frame, 34 1/4 x 23 1/4 in. (87 x 59.1 cm); painted surface 27 x 16 7/8 in. (68.6 x 42.9 cm)
Classification:Paintings
Credit Line:Bequest of George Blumenthal, 1941
Accession Number:41.190.13
On view at The Met Fifth Avenue in Gallery 625
This independent panel of the Madonna nursing her child is among the masterpieces of fourteenth-century Sienese painting. It transforms a common, maternal activity into an icon of devotion and is painted with Fei's special feeling for decorative richness and technical refinement. The engaged frame is original, as are the gold-backed, glass medallions with images of the Annunciation, saints, and the head of Christ—a technique known as verre églomisé. The picture may originally have stood on an altar or hung in a domestic interior.
Catalogue Entry
This imposing picture, one of Fei’s most accomplished, is completely intact, with its original engaged frame richly decorated with gilded pastiglia and small cabochon stones alternating with medallions of verre églomisé (see Eisler 1961 for a discussion of this technique). The top and bottom center medallions are lost. The others depict, from top left to bottom right: the Archangel Gabriel and the Virgin Annunciate, Saints Paul and Peter, Saints John the Baptist and John the Evangelist (or Matthew), and an unidentified saint (or Saint John the Evangelist) and probably Saint Catherine of Alexandria. The central medallion on the Virgin's cloak is also in verre églomisé and depicts the head of Christ.
An early work by the artist, the picture is usually dated to the 1370s. Its composition, with an actively posed child set against a rigidly frontal Madonna, recalls works by Ambrogio Lorenzetti such as his landmark Madonna and Child of 1319 (Vico Alto, Siena). Like his contemporaries Lippo Vanni and Bartolo di Fredi, Fei was attentive to the innovations of his great forebears, translating some of their most memorable compositions into works of refined elegance. His paintings are invariably more planar and the execution is always exquisite. In this case the brushstrokes delicately follow the form, endowing the features of the figures with the effect of a shallow relief.
The picture, whose provenance cannot be traced prior to the twentieth century, may have been painted for a domestic setting, but it is worth noting that occasionally pictures of this format were also adapted for use on an altar. Such, for example, is the case with a Madonna of Humility by Fei, which was incorporated as the centerpiece of an elaborate altar in the cathedral of Siena commissioned from Andrea Bregno by Cardinal Francesco Piccolomini in the 1480s.
Among the interesting technical details is the evidence that a compass was used to mark out the tondi in the spandrels and the series of arches decorating the main arch above the Madonna. As is so often the case, the blue of the Madonna’s mantle has darkened and the modeling is no longer visible.
[Keith Christiansen 2011]
Provenance
Sir R. Torrens; F. C. Clift, London (until 1925; sale, Christie's, London, July 17, 1925, no. 118, as Sienese School, for 780 gns. to Sekeyan); [Sekeyan, Paris, from 1925]; ?[Durlacher, Paris and New York, 1925]; George Blumenthal, New York (by 1926–d. 1941; cat., vol. 1, 1926, pl. XXIII bis, as by Paolo di Giovanni Fei)
Exhibition History
Corning, N.Y. Corning Museum of Glass. "The Origin and Development of Verre Églomisé," May 1–September 15, 1961, no catalogue.
Hartford. Wadsworth Atheneum. "An Exhibition of Italian Panels & Manuscripts from the Thirteenth & Fourteenth Centuries in Honor of Richard Offner," April 9–June 6, 1965, no. 34.
New York. The Metropolitan Museum of Art. "Italian Renaissance Frames," June 5–September 2, 1990, no. 3.
References
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XXIII bis, as by Paolo di Giovanni Fei.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 183.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 26, Leipzig, 1932, p. 211.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 158.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, pp. 68, 73, 191, ill. p. 82, states that the motif of the suckling Child who grabs his foot first appears in a panel by a Paduan follower of Lorenzetti (Museo Civico, Padua), and that Fei depicts the motif a second time in a picture formerly in the Platt collection, Englewood, New Jersey.
Colin Eisler. "Verre Églomisé and Paolo di Giovanni Fei." Journal of Glass Studies 3 (1961), pp. 30–37, ill. (overall and details of medallions), discusses the technique of "verre églomisé" used to create the medallions on the engaged frame and the Virgin's cloak, suggesting that they may have been done by Fei himself; identifies the heads on the medallions in the frame as (from top left to bottom right): the Archangel Gabriel and the Virgin Annunciate, Saints Paul and Peter, Saints John the Baptist and Matthew, and Saints John the Evangelist and (tentatively) Catherine of Alexandria; identifies the head on the Virgin's cloak as Christ; suggests that the lost medallion at the top center of the frame may have depicted the dove of the Holy Spirit.
Michael Mallory. "Toward a Chronology for Paolo di Giovanni Fei." Art Bulletin 46 (December 1964), p. 530, calls it an early work.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 129.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 69, 346, 608.
Simona Grazzini in Jacopo della Quercia nell'arte del suo tempo. Exh. cat., Palazzo Pubblico, Siena. Florence, 1975, p. 18, fig. I.2.
Michael Mallory. The Sienese Painter Paolo di Giovanni Fei (c. 1345–1411). PhD diss., Columbia University. New York, 1976, pp. 32–38, 41–55, 225, 227–28, no. 2, pl. 5, discusses the artist's sources for the composition, including two works by Ambrogio Lorenzetti (San Francesco, Siena, and Vico l'Abate) and one attributed to Ceccarelli (formerly San Martino, Siena); relates it to a similar work by Fei then with Wildenstein, London (formerly Platt collection, Englewood, New Jersey), cataloguing both paintings as Fei's earliest works, from about 1380.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 58–59, pl. 32, state that although the work cannot be securely dated, the fact that the composition is based on a much earlier Simonesque prototype may indicate that it was made early in the artist's career; relate it to the Madonna by Ceccarelli (San Martino, Siena); depart slightly from Eisler's [see Ref. 1961] identification of the saints in the medallions, tentatively placing John the Evangelist opposite Saint John the Baptist and calling the head at the bottom left unidentified.
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 10, 12, fig. 13 (color), believes that the composition is probably based on a lost work by Ambrogio Lorenzetti; dates it about 1380, early in Fei's career when he was most influenced by Ambrogio.
David Alan Brown. Andrea Solario. Milan, 1987, p. 202 n. 152, fig. 152.
Timothy J. Newbery and Laurence B. Kanter in Italian Renaissance Frames. Exh. cat., The Metropolitan Museum of Art. New York, 1990, pp. 34–35, no. 3, ill. (color), describe the frame, dating it about 1390.
Adam S. Labuda in Opus Sacrum. Ed. Józef Grabski. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, pp. 43–44, fig. 2.
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, p. 56 n. 54.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 219, 318, classifies the punch marks appearing in this painting.
Renaissance. Christie's, New York. January 29, 2014, p. 64, fig. 1 (color), under no. 125.
Frame
An exceptionally elaborate, original engaged frame with raised gesso (pastiglia) designs, embellished with glass medallions (verre églomisé) painted by the artist.
See also Newbery and Kanter 1990.
Timeline of Art History (2000-present)
Essays
Italian Painting of the Later Middle Ages
Italian Renaissance Frames
Sienese Painting
Timelines
Italian Peninsula, 1000–1400 A.D.
MetPublications
European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue
"Fourteenth-Century Italian Altarpieces": The Metropolitan Museum of Art Bulletin, v. 40, no. 1 (Summer, 1982)
Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, Sienese and Central Italian Schools
Italian Renaissance Frames
The Metropolitan Museum of Art Guide
"Décor" exhibition (Sept 2016 - Apr 2017) showing "ENTRELACER" (2016) by Daniel Buren (FRA, °1938)
The backlit ceiling "La Voie Lactée" by Maurice Max-Ingrand for the reception room is made of verre églomisé, an ancient and delicate technique of glass decoration.
BOGHOSSIAN FOUNDATION at the VILLA EMPAIN (1930-1934)
Avenue Franklin Roosevelt 67
B-1050 Brussels
Belgium
Original design (1930-34) :
arch Michel Polak (CH 1885-1948)
Restoration (2008-2010) :
arch Francis Metzger & Philippe De Bloos
Austin hosted its annual Museum Day on Sunday, September 18, 2016. Mike and I took advantage of the opportunity to enjoy free admission to several museums and historic homes. Our third stop was the Neill-Cochran House Museum (2310 San Gabriel St.).
In 1855, Washington and Mary Hill commissioned master builder Abner Cook to construct a Greek-Revival-style house northwest of downtown Austin. The Hills never lived in the house; its current name refers to two families who lived here after the Hills built it. Colonel Andrew and Jennie Chapman Neill purchased the house in 1876, and it was later sold to Judge Thomas and Bessie Rose Cochran in the 1890s. It was subsequently acquired by the National Society of Colonial Dames in the State of Texas in 1958 and converted into a museum.
Today, the first floor reflects the Neills' occupancy during the Victorian era, while the second floor reflects the Cochrans' residency. Here, you can see one of the home's bedrooms. An informational booklet and display card provided a few details on this room:
1855 Bedroom
Washington and Mary Hill never moved into the home they commissioned from Abner Cook in 1855. However, by the mid-1850s, several grand homes had been constructed in Austin, and fine furnishings could be found throughout Texas. This room reflects the styles of the era -- late Empire into Victorian.
The Victorian-style half-tester bed has the earliest Texas provenance in the Neill-Cochran House Museum collection; its headboard features intricately carved flowers. Other furnishings in the room date to the Federal and Empire periods. A walnut dressing table with mirror features six small drawers and Tuscan-style columns for the front legs. Both the mahogany armoire and the walnut chest of drawers have deep pillar and scroll Empire-style features. The walnut drop-leaf bedside table also features scrolling, has two leaves and two drawers, and, like the bed, came to Texas in the 1840s. The round-top leather trunk has a dropped-forged metal trim. The large size reflects a reality of 19th-century travel -- guests visited for months at a time.
Following is more detailed information on a few of the key pieces shown here, as listed on a nearby display card:
Half-Tester Bed
American, circa 1846. Attributed to Prudent Mallard. Purchased in New Orleans in 1846 by Judge Ruben A. Reeves and his bride Sarah en route from Kentucky to Palestine, Texas, to make their new home. Reeves later became Chief Justice of the Texas Supreme Court and was appointed Justice of the Court of New Mexico Territory.
Gift of Mrs. R.W. McClendon (1969.03.01)
Eglomisé Mantel Clock
American, circa 1836. Classical/Empire mahogany clock, attributed to Eli Terry, Jr., son and partner of one of the most prominent producers of mantel clocks in the early 19th century. The clock features a simple dial and an eglomisé painting of a Greek Revival home in the bottom panel. The glass panel has an unpainted space through which the pendulum is visible, thus the name ''Looking-Glass Clock''. The front feet are carved acanthus leaf, while the back feet are simple turning.
Gift of Mrs. J.W. Beretta (1967.04.01)
I wish I had the *good* camera with me. This place is around the corner from my hotel and there's more of this type of stuff.
Creating stained glass windows
The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.
The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus is prepared which can be shown to the patron.
A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.
A full sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect.
Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces.
Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.
Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period.
From 1300 onwards, artists started using silver stain which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass.
By about 1450 a stain known as Cousin's rose was used to enhance flesh tones.
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were annealed to the glass and the pieces were assembled into metal frames.
In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Lead came and copper foil glasswork.
In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and slab glass.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.
The technique of painting on glass was practiced throughout Europe and as far as India, China and Japan.
We find wonderful examples of Western European art during the Renaissance in Italy France and Spain as well as in the Low Countries and in Central Europe.
In Georgian Britain the art of "transfers" of engravings onto glass was a different, yet related technique. Also famous are the 19th c East Anglian school of naive paintings on glass in maple frame depicting "Dutch scenes" with windmills.
In Bohemia, Slovakia, Hungary, Austria, Southern Poland but also in Italy, Spain and Portugal religious representations on glass, produced by naive artists, survive to the present day. Despite their cultural and geographical differences hey have many common traits.
In Orthodox countries we find icons on glass especially in Transylvania. The technique is carried on to the present day.
Nicolae Groza, a Romanian artist, now living in Belgium, near Liege, follows the tradition of Transylvanian icon painters on glass. Groza's themes borrow symbols, motifs and the graphism of the old icons, yet he is inspired from non-religious subjects - from folk legends and historical characters.
Nicoale has an extraordinary sense of humour, imagination and a high artistry which sets him apart from his contemporaries. He has held many individual and group exhibitions of these works which are in private collections in England, Belgium, Romania, Germany, France.
Nicolae Groza's main form of expression are huge murals, mosaics, decorative panels in ceramics.
His oil paintings are to be found in Musems and private collections in Europe.
Madonna and Child
www.metmuseum.org/art/collection/search/437248
www.metmuseum.org/toah/works-of-art/41.190.13/
Паоло ди Джованни Феи. Мадонна с младенцем. 1370е гг. Музей Метрополитен, Нью-Йорк.
ru.wikipedia.org/wiki/Паоло_ди_Джованни_Ф...
Artist: Paolo di Giovanni Fei (Italian, San Quirico, active by 1369–died 1411)
Date:1370s
Medium:Tempera on wood, gold ground
Dimensions:Overall, with engaged frame, 34 1/4 x 23 1/4 in. (87 x 59.1 cm); painted surface 27 x 16 7/8 in. (68.6 x 42.9 cm)
Classification:Paintings
Credit Line:Bequest of George Blumenthal, 1941
Accession Number:41.190.13
On view at The Met Fifth Avenue in Gallery 625
This independent panel of the Madonna nursing her child is among the masterpieces of fourteenth-century Sienese painting. It transforms a common, maternal activity into an icon of devotion and is painted with Fei's special feeling for decorative richness and technical refinement. The engaged frame is original, as are the gold-backed, glass medallions with images of the Annunciation, saints, and the head of Christ—a technique known as verre églomisé. The picture may originally have stood on an altar or hung in a domestic interior.
Catalogue Entry
This imposing picture, one of Fei’s most accomplished, is completely intact, with its original engaged frame richly decorated with gilded pastiglia and small cabochon stones alternating with medallions of verre églomisé (see Eisler 1961 for a discussion of this technique). The top and bottom center medallions are lost. The others depict, from top left to bottom right: the Archangel Gabriel and the Virgin Annunciate, Saints Paul and Peter, Saints John the Baptist and John the Evangelist (or Matthew), and an unidentified saint (or Saint John the Evangelist) and probably Saint Catherine of Alexandria. The central medallion on the Virgin's cloak is also in verre églomisé and depicts the head of Christ.
An early work by the artist, the picture is usually dated to the 1370s. Its composition, with an actively posed child set against a rigidly frontal Madonna, recalls works by Ambrogio Lorenzetti such as his landmark Madonna and Child of 1319 (Vico Alto, Siena). Like his contemporaries Lippo Vanni and Bartolo di Fredi, Fei was attentive to the innovations of his great forebears, translating some of their most memorable compositions into works of refined elegance. His paintings are invariably more planar and the execution is always exquisite. In this case the brushstrokes delicately follow the form, endowing the features of the figures with the effect of a shallow relief.
The picture, whose provenance cannot be traced prior to the twentieth century, may have been painted for a domestic setting, but it is worth noting that occasionally pictures of this format were also adapted for use on an altar. Such, for example, is the case with a Madonna of Humility by Fei, which was incorporated as the centerpiece of an elaborate altar in the cathedral of Siena commissioned from Andrea Bregno by Cardinal Francesco Piccolomini in the 1480s.
Among the interesting technical details is the evidence that a compass was used to mark out the tondi in the spandrels and the series of arches decorating the main arch above the Madonna. As is so often the case, the blue of the Madonna’s mantle has darkened and the modeling is no longer visible.
[Keith Christiansen 2011]
Provenance
Sir R. Torrens; F. C. Clift, London (until 1925; sale, Christie's, London, July 17, 1925, no. 118, as Sienese School, for 780 gns. to Sekeyan); [Sekeyan, Paris, from 1925]; ?[Durlacher, Paris and New York, 1925]; George Blumenthal, New York (by 1926–d. 1941; cat., vol. 1, 1926, pl. XXIII bis, as by Paolo di Giovanni Fei)
Exhibition History
Corning, N.Y. Corning Museum of Glass. "The Origin and Development of Verre Églomisé," May 1–September 15, 1961, no catalogue.
Hartford. Wadsworth Atheneum. "An Exhibition of Italian Panels & Manuscripts from the Thirteenth & Fourteenth Centuries in Honor of Richard Offner," April 9–June 6, 1965, no. 34.
New York. The Metropolitan Museum of Art. "Italian Renaissance Frames," June 5–September 2, 1990, no. 3.
References
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. XXIII bis, as by Paolo di Giovanni Fei.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 183.
[F. Mason] Perkins in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 26, Leipzig, 1932, p. 211.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 158.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, pp. 68, 73, 191, ill. p. 82, states that the motif of the suckling Child who grabs his foot first appears in a panel by a Paduan follower of Lorenzetti (Museo Civico, Padua), and that Fei depicts the motif a second time in a picture formerly in the Platt collection, Englewood, New Jersey.
Colin Eisler. "Verre Églomisé and Paolo di Giovanni Fei." Journal of Glass Studies 3 (1961), pp. 30–37, ill. (overall and details of medallions), discusses the technique of "verre églomisé" used to create the medallions on the engaged frame and the Virgin's cloak, suggesting that they may have been done by Fei himself; identifies the heads on the medallions in the frame as (from top left to bottom right): the Archangel Gabriel and the Virgin Annunciate, Saints Paul and Peter, Saints John the Baptist and Matthew, and Saints John the Evangelist and (tentatively) Catherine of Alexandria; identifies the head on the Virgin's cloak as Christ; suggests that the lost medallion at the top center of the frame may have depicted the dove of the Holy Spirit.
Michael Mallory. "Toward a Chronology for Paolo di Giovanni Fei." Art Bulletin 46 (December 1964), p. 530, calls it an early work.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 129.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 69, 346, 608.
Simona Grazzini in Jacopo della Quercia nell'arte del suo tempo. Exh. cat., Palazzo Pubblico, Siena. Florence, 1975, p. 18, fig. I.2.
Michael Mallory. The Sienese Painter Paolo di Giovanni Fei (c. 1345–1411). PhD diss., Columbia University. New York, 1976, pp. 32–38, 41–55, 225, 227–28, no. 2, pl. 5, discusses the artist's sources for the composition, including two works by Ambrogio Lorenzetti (San Francesco, Siena, and Vico l'Abate) and one attributed to Ceccarelli (formerly San Martino, Siena); relates it to a similar work by Fei then with Wildenstein, London (formerly Platt collection, Englewood, New Jersey), cataloguing both paintings as Fei's earliest works, from about 1380.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 58–59, pl. 32, state that although the work cannot be securely dated, the fact that the composition is based on a much earlier Simonesque prototype may indicate that it was made early in the artist's career; relate it to the Madonna by Ceccarelli (San Martino, Siena); depart slightly from Eisler's [see Ref. 1961] identification of the saints in the medallions, tentatively placing John the Evangelist opposite Saint John the Baptist and calling the head at the bottom left unidentified.
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 10, 12, fig. 13 (color), believes that the composition is probably based on a lost work by Ambrogio Lorenzetti; dates it about 1380, early in Fei's career when he was most influenced by Ambrogio.
David Alan Brown. Andrea Solario. Milan, 1987, p. 202 n. 152, fig. 152.
Timothy J. Newbery and Laurence B. Kanter in Italian Renaissance Frames. Exh. cat., The Metropolitan Museum of Art. New York, 1990, pp. 34–35, no. 3, ill. (color), describe the frame, dating it about 1390.
Adam S. Labuda in Opus Sacrum. Ed. Józef Grabski. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, pp. 43–44, fig. 2.
Erling S. Skaug. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting. Oslo, 1994, vol. 1, p. 56 n. 54.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 219, 318, classifies the punch marks appearing in this painting.
Renaissance. Christie's, New York. January 29, 2014, p. 64, fig. 1 (color), under no. 125.
Frame
An exceptionally elaborate, original engaged frame with raised gesso (pastiglia) designs, embellished with glass medallions (verre églomisé) painted by the artist.
See also Newbery and Kanter 1990.
Timeline of Art History (2000-present)
Essays
Italian Painting of the Later Middle Ages
Italian Renaissance Frames
Sienese Painting
Timelines
Italian Peninsula, 1000–1400 A.D.
MetPublications
European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue
"Fourteenth-Century Italian Altarpieces": The Metropolitan Museum of Art Bulletin, v. 40, no. 1 (Summer, 1982)
Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, Sienese and Central Italian Schools
Italian Renaissance Frames
The Metropolitan Museum of Art Guide
"Side chair
ca. 1820
Attributed to: Hugh Finlay
Origin: America, Maryland, Baltimore
OH: 32 3/4" OW: 17 3/8" OD: 15 3/4"
Tulip poplar and maple.
Museum Purchase
Acc. No. 1994-108,1
Appearance: Late classical side chair; concave tablet-form crest rail with applied half-round molding on reverse at top; concave rectilinear stay rail; turned stiles; T-shaped outer side seat rails; front seat rail with rounded profile; caned seat; turned legs; turned box stretchers. Painted decoration consisting of gilt stencils with extensive freehand ornamentation in red and black; blue ground; yellow caned seat.
Construction: A half-round molding is affixed to the back of the crest rail with three cut nails. The stay rail is tenoned into the stiles, which are in turn round-tenoned into the crest rail and the T-shaped, outer side seat rails. The inner side seat rails are tenoned into the front and rear seat rails, and the outer side seat rails are glued to the resulting frame. The front seat rail is a two-piece lamination. Legs and stretchers are joined with round tenons.
Materials: Tulip poplar crest rail, stay rail, and seat rails; maple stiles, legs, and stretchers.
Mark(s): None.
Inscription(s): None.
Label:
Until about 1810, most of the painted furniture made in Baltimore was based on the straightforward neoclassical models illustrated in late eighteenth-century English design manuals like those of George Hepplewhite and Thomas Sheraton. The painted ornament usually featured classical trophies or local architectural landmarks and sometimes incorporated églomisé panels. This approach was largely supplanted after 1810 by the radically different interpretations of classical style then sweeping western Europe. Far more archaeologically correct in form and decoration, the new mode was closely based on classical Greek and Roman designs and lent itself particularly well to expression in colorful paints and gold leaf.
Brothers John (1777-1851) and Hugh (1781-1831) Finlay, working together and individually, were the vanguard of the Baltimore trade in painted furniture. In 1810 Hugh Finlay took the unusual step of traveling to Europe in search of current designs. In December, John advertised that the firm had "RECEIVED FROM LONDON, A HANDSOME COLLECTION OF ENGRAVINGS, Many of them in colours . . . selected by Hugh Finlay--who has forwarded by the latest arrivals, a number of Drawings, from furniture in the first houses in Paris and London, which enable them [the Finlays] to make the most approved articles in their line." This step, unprecedented among American furniture makers of the day, almost certainly accounts for the avant-garde, decidedly European nature of the Finlays' painted furniture in succeeding years.
The present Baltimore chair is attributed to Hugh Finlay since the T-shape and painted ornament of the side seat rails are identical to those on CWF chairs 2003-1, 4-7. The latter are from a suite that also includes a couch (CWF acc. 2003-1, 1) that is, in turn, by the same hand that produced a couch for Humberston Skipwith of Prestwould Plantation in Mecklenburg Co., Va. A surviving bill of sale documents that the Skipwith couch was supplied by Hugh Finlay in 1819.
While Baltimore artisans produced all manner of fancy furniture forms--sofas, tables, lamp stands, bedsteads, girandoles, and window cornices--the side chair was the mainstay of the industry. After 1815, most painted Baltimore chairs followed the basic Greco-Roman klismos design, exhibiting a tablet-form crest rail, turned stiles, and turned front legs instead of the saber legs used in other cities. A wide variety of decorative approaches was available to suit the buyer's taste and price range. The most elaborate Baltimore chairs featured ornament akin to that on the CWF example, with gilded and stenciled classical figures and foliage enhanced by freehand application of paints, washes, and tinted varnishes meant to simulate the costly gilt bronze mounts then in use on European furniture.
The CWF chair is unusual, principally in the choice of blue for the ground color. Baltimore chairmakers advertised that they painted furniture in "all colors," although grounds of red and yellow, and, slightly later, black or rosewood graining are far more common. The varnished blue on this chair may represent a specific order by the original owner.
Painted Baltimore chairs were normally produced in matching sets of six or twelve. Unlike most of their American predecessors, however, the makers of painted furniture in the classical taste often produced entire suites of furniture with matching tables, seating pieces, window cornices, and the like.
Provenance:
The chairs were probably first owned by William Given Hutchins (1800-1872) and Sarah Anderson Hutchins (1799-1830) of My Lady's Manor, Baltimore Co., Md., and may have been acquired at the time of their marriage in 1825. The chairs likely descended to their son, James Alfred Hutchins (1826-1888); to his son William Herbert Hutchins (1860-1905); and then to his daughters, Garnett Beatrice Hutchins (1891-1978) and Helen Alverda Hutchins (1894-1978), all of My Lady's Manor. Oral tradition indicates that originally there were twelve chairs in the set and that six were sold during the 1940s. The remaining six were auctioned ca. 1979 for the estate of Garnett Hutchins. They were purchased in 1994 by Colwill-McGehee, Antique Decorative and Fine Arts, Baltimore, who resold the two best- preserved chairs to CWF."
From: emuseum.history.org/code/emuseum.asp?next.x=13&next.y...
Artwork on glass installed at Waldorf Astoria Hotel, New York
#artspacenyc, #goldleaf, #eglomise, #silverleaf, #silvermirror
The Sint Janskerk in Gouda, the Netherlands, is a large Gothic church, known especially for its stained glass windows, for which it has been placed on the UNESCO list of Dutch monuments.
Creating stained glass windows
The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.
The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus is prepared which can be shown to the patron.
A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.
A full sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect.
Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces.
Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.
Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period.
From 1300 onwards, artists started using silver stain which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass.
By about 1450 a stain known as Cousin's rose was used to enhance flesh tones.
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were annealed to the glass and the pieces were assembled into metal frames.
In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Lead came and copper foil glasswork.
In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and slab glass.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.
Artwork on glass installed at Waldorf Astoria Hotel, New York
#artspacenyc, #goldleaf, #eglomise, #silverleaf, #silvermirror
Artwork on glass installed at Waldorf Astoria Hotel, New York
#artspacenyc, #goldleaf, #eglomise, #silverleaf, #silvermirror
Artwork on glass installed at Waldorf Astoria Hotel, New York
#artspacenyc, #goldleaf, #eglomise, #silverleaf, #silvermirror
Artwork on glass installed at Waldorf Astoria Hotel, New York
#artspacenyc, #goldleaf, #eglomise, #silverleaf, #silvermirror
Artwork on glass installed at Waldorf Astoria Hotel, New York
#artspacenyc, #goldleaf, #eglomise, #silverleaf, #silvermirror
Creating stained glass windows
The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.
The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus is prepared which can be shown to the patron.
A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.
A full sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect.
Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces.
Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.
Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period.
From 1300 onwards, artists started using silver stain which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass.
By about 1450 a stain known as Cousin's rose was used to enhance flesh tones.
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were annealed to the glass and the pieces were assembled into metal frames.
In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Lead came and copper foil glasswork.
In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and slab glass.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.
Maker: Jacques-Athanase-Joseph Clouzard (1820-1903) & Charles Soulier (1840-1876)
Born: France
Active: France
Medium: albumen on glass stereoview
Size: 6.75 in x 3.25 in
Location: Bohemia
Object No. 2018.754
Shelf: M-23
Publication: John B Cameron & Janice g. Schimmelman, The Glass Stereoviews of Ferrier & Soulier, 1852-1908, The Collodion Press, Rochester, MI, 2016, pl 112, pg 177
David Hanson, Checklist of Photomechanical Processes and Printing 1825-1910, 2017, pg 129
Other Collections:
Provenance: luvjoysantiques
Rank: 45
Notes: Written in pencil below image verso - 308 Pont de Prague, Bohemia, Breveté S.G.D.G (breveté sans garantie du gouvernment - patented without state guarantee). This image was first listed in the Gaudin & Freres 1856 catalog mounted with a single eglomise and three pieces of glass. It received high praise when the Photographic Journal (Feb. 5, 1857) declared "MM Clouzard and Soulier reached and perhas exceeded M. Ferrier, they deserve first prize: their stereoscopic view of the bridge in Prague has an amazing effect." The Prague Bridge (renamed the Charles Brisge in 1870) with its Gothic tower was built in the 14th century. This view looks west across the river Vltava. In 1854 Clouzard & Soulier obtained a patent for a transparent passe-partout glass stereoview, which eliminated the need for a third piece of glass, a milestone in the international production of glass stereoviews and at some point after that produced this stereoview. This image was later used by Fox Talbot a few years later to make an experimental photoglyphic engraving. Mentioned in Crookes to Talbot, Nov. 26, 1858.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Creating stained glass windows
The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.
The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus is prepared which can be shown to the patron.
A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.
A full sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect.
Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces.
Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.
Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period.
From 1300 onwards, artists started using silver stain which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass.
By about 1450 a stain known as Cousin's rose was used to enhance flesh tones.
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were annealed to the glass and the pieces were assembled into metal frames.
In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Lead came and copper foil glasswork.
In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and slab glass.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.
Pastificio Franzoni. I wonder why Franzoni did not want to see his name in light?
Welcher Geschäftsinhaber schmückt sich nicht gerne mit einem schönen Schriftzug, zugeschnitten auf die Eigenheiten und Qualitäten des Angebots? Hier scheint die Vielfalt des Warenangebots die Möglichkeiten eines einzelnen Schriftzuges jedoch zu sprengen, der Inhaber dieses Geschäfts in Brescia, Italien, braucht hierzu gleich drei verschiedene.
The date of this gilded glass panel is said to be about 1370, 1380, but the armour and clothing look almost 30 years older (even though they are meant to resemble old roman fashion, e.g. the skirt and the scalloped edge of the body protection of the soldier in front). In this respect also note the strange winged helmet of the soldier behind.
Creating stained glass windows
The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.
The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus is prepared which can be shown to the patron.
A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.
A full sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect.
Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces.
Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.
Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period.
From 1300 onwards, artists started using silver stain which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass.
By about 1450 a stain known as Cousin's rose was used to enhance flesh tones.
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were annealed to the glass and the pieces were assembled into metal frames.
In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Lead came and copper foil glasswork.
In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and slab glass.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.