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From At A Window by Carl Sandburg
But leave me a little love,
A voice to speak to me in the day end,
A hand to touch me in the dark room
Breaking the long loneliness.
In the dusk of day-shapes
Blurring the sunset,
One little wandering, western star
Thrust out from the changing shores of shadow.
Let me go to the window,
Watch there the day-shapes of dusk
And wait and know the coming
Of a little love.
Does this count as a window? I came across a picture of a vintage card not too long ago, and they had suspended a disc on a thread, and, when spun, it was really neat. This is my version of that idea. (The middle shot was actually taken first and received too much backlight - which is why it's so dark. The Blue Butterfly is the most true color match to the card in real life.)
Supplies: Hero Arts kraft cards; Paper: Basic Gray Marakesh, BoBunny Press; Stamps: Hero Arts CL115, CL272; INK: Versafine, ColorBox; Pearls: Hero Arts; Stickles; popdots
Arts & Crafts west window of the north aisle, representing the story of Ruth, the work of local artist Alfred Pike 1918 (who produced a few windows from his studio in Tardebigge before later emigrating to Canada).
St Lawrence's church in Alvechurch retains it's 15th century west tower and north aisle but the remainder is a Victorian rebuilding by William Butterfield (whose characteristic use of different coloured stonework leaves the visitor in no doubt of this intervention). Sadly the new roof has been built to such a steep pitch as to dwarf the ancient tower (and all but consume it's eastern face).
An intriguing feature of the exterior is the series of medieval carved stone heads bizarrely superimposed over the south aisle windows; they seem to be re-used corbels from the pre-Victorian church. More of the medieval building is apparent in the walls of the north aisle and the fine tomb recess containing a knight's effigy within. The interior is otherwise very much the product of the Victorian rebuilding.
The church is normally locked without keyholder information, I timed my visit with luck at the end of the Sunday service, and was found the parishoners and clergy most welcoming as they kindly let me have a quick look inside.
We visited the Wyeth exhibit today at the Kalamazoo Institute of the Arts. Andrew has probably been one of the most profound influances on the way I look at things today and I can only hope it shows up in my photography.
Of course after returning home, I had to re-visit some images made near Cushing Maine back in the late 70's. This is a window in Christina Olsen's house. The stove seen through the window can be seen in his painting here: www.petervnielsen.dk/Drybrush_Andrew_Wyeth.shtml
Texture by Kim Klassen.
This is St Johns Cathedral again.
The circular window over the front door.
The desired end result was enhanced texture in the cathedral, while leaving the new building and sky as original, as it would look horrible with enhanced contrast (texture).
When the shot was taken, the sky was blown out totally white.
Step 1 - add a gradient layer and applied a blue sky by:
a/ use the magic wand to select the white sky
b/ select the gradient tool and select a suitable gradient which would provide an appropriate blue and natural look to the blue fade.
Step 2 - copy the new shot with blue sky to a new image and dulpicate the new image background layer to a new layer.
Step 3 - back on the 1st image,
a/ use Nik to increase the contrast and tone slightly to a level that highlighted the texture without looking ridiculous.
b/ drag the 2nd image (non contrast) background layer copy into the 1st image as a new layer, and make sure it is on top.
c/ at this point, the soft image being on top will block out the lower contrasty image
d/ use the eraser tool and a soft edge brush, remove the soft top layer pixels only above the cathedral stones
The end result is half the top soft layer of sky and new building, and half the bottom layer visible where the cathedral is.
Holy Theme
St Wulfram, Grantham, Lincolnshire.
Window by Leonard Charles Evetts (1909-1997), 1969.
Through the bequest of Jessie Maria Porter a worshipper in this church this window was placed here to her memory in 1969 by members of her family.
Leonard Evetts was born in Newport, Monmouthshire. He won a scholarship to the Royal College of Art, and studied stained glass under Martin Travers. He then taught at Edinburgh College of Art before becoming head of design for 37 years at Kings College, Newcastle. A prolific painter and stained glass artist, hundreds of windows by Evetts may be found in the United Kingdom and overseas. Many of these are in the north east of England.
LEONARD CHARLES EVETTS Obituary - The Independent - 7 October 1997.
Leonard Evetts first came to be noticed when in 1938 he published his book Roman Lettering, based on his study of the letters of the inscription at the base of the Trajan column. This went through eight reprints and established Evetts as an authority in historic calligraphy.
He was the son of a painting contractor who taught him signwriting and stimulated a lifelong interest. At the age of 18 he won a short scholarship to the Royal College of Art. This was followed by a three-year scholarship, in 1930-33, where he studied calligraphy under Edward Johnston and stained glass under Martin Travers. He lectured at the College of Art in Edinburgh from 1933 to 1937, after which he joined the department of Fine Art at King's College, Newcastle upon Tyne, ultimately becoming head of the department.
During the Second World War he advised the War Office in camouflage techniques. After retirement from academic work, he continued to work from his home, where a full-sized billiard table was rapidly converted into a cutting table for his work in glass. He completed his last commission - a window for Craster Parish Church - just 10 days before he died.
His private commissions were many and various, but it was in stained glass that Len Evetts was most successful, completing over 300 windows for clients throughout Britain and as far away as New Zealand. Evetts combined a mature knowledge of Christian liturgy and iconography with a fine sense of colour and design. He was helped by a commanding physical presence. When he presented his designs to his clients he did so with such conviction and gravitas that any doubts clients may have had at the outset were quickly transformed into the belief that they were about to acquire a unique masterpiece.
His early glass was in delicate tints, angular, ascetic and restrained, but as the years went by the glass became more colourful, the composition stronger and more curvilinear. Perhaps his greatest achievement - unparalleled in modern times - was his glass for the church of St Nicholas, Bishopwearmouth, where the entire chancel and nave was all his work. Few artists have that opportunity, and he took full advantage of it.
Equally important to him was his plain leaded glass, using handmade reamy glass of various types. He often lectured in the art of grisaille, and developed the distinctive Northumbrian style of F.R. Wilson, most handsomely at Blanchland Abbey and in the great east window at Sedgefield. Less well known was his work in recognising and conserving fragments of medieval glass as at Lanchester.
Evetts was a man of many talents. His watercolours, of which his Bamburgh Castle in the Laing Art Gallery is a good example, had that same awareness of the infinite variety of atmospheric colour that typified much of his glass, but there was a greater sense of the numinous. For a church in a dreary council estate in Sunderland he made a Majestas in cast aluminium. For Gloucester Cathedral he designed a cope. At Bede's church in Jarrow he produced an altar cover, cross and candlesticks. For Darlington he painted on wood a royal coat of arms. Heraldic shields featured in much of his glass, but this commission gave him an opportunity to produce his own design.
Out of the public eye Evetts was more influential than we shall ever know. He was often used as a consultant to help settle disputes. He was Vice-Chairman of the Council for the Care of Churches, 1972-81, and a member of Newcastle Diocesan Advisory Committee (on new installations and additions) for more than half a century.
He disliked aggressive architecture. The square boxes with giant concrete fins of the 1960s were anathema to him. In the field of conservation he would very much have preferred the classical buildings of Dobson and Grainger in Newcastle to have been left with their patina of carbon black. That, he said, would be their best protection from the acidic pollutants of modern city centres.
His services to the Church were recognised in a Lambeth doctorate awarded in 1995. He was immensely proud of this. All his life he had fought battles against Philistinism and ugliness. Now someone at last had said an official "Thank you". As his life drew to its close, it left him feeling it had all been worthwhile.
Leonard Charles Evetts, artist and conservationist: born Newport, Monmouthshire 12 January 1909; married 1937 Jo Macdonald (died 1983), 1987 Phyl Dobson; died Woolsington, Tyne and Wear 21 September 1997.
www.independent.co.uk/news/obituaries/obituary-leonard-ev...
I pointed my camera upwards to record the broken window panes of a closed factory in Wellston, Ohio. I find the shapes fascinating--they remind me of those found in an inkblot test.
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