Difference between revisions of "The History, Purpose, and Techniques of Stained Glass Windows"
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==A Brief History== | ==A Brief History== | ||
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| − | Stained glass is believed to originate from the middle east as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.</ref>. Moving forward to the medieval period, the art as it is known today began to take shape. Churches began to commission windows with religious figures and the royalty of the time would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.</ref>. The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.</ref>. New colors were introduced over the centuries as new metals were found allowing for experimentation into lighter colors and painting, but the Gothic style remained the dominate style with its rich uses of blues and reds. Painting on glass became popular in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.</ref>. Donors to the art also began to be immortalized in the windows they paid for by being added into the design, and the windows were appearing in places other than churches<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.</ref>. In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries; it also brought the use of perspective to the art form adding dimension to the figures. After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the glass than the painting. The gothic style made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damages the windows and allowed for new windows to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The aesthetic style of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle class. Art Nouveau was Europe’s response to the aesthetic style in America and the increase of American glass production, putting glass in the middle class homes and in buildings. | + | a. Stained glass is believed to originate from the middle east as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.</ref>. Moving forward to the medieval period, the art as it is known today began to take shape. Churches began to commission windows with religious figures and the royalty of the time would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.</ref>. The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.</ref>. New colors were introduced over the centuries as new metals were found allowing for experimentation into lighter colors and painting, but the Gothic style remained the dominate style with its rich uses of blues and reds. Painting on glass became popular in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.</ref>. Donors to the art also began to be immortalized in the windows they paid for by being added into the design, and the windows were appearing in places other than churches<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.</ref>. In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries; it also brought the use of perspective to the art form adding dimension to the figures. After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the glass than the painting. The gothic style made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damages the windows and allowed for new windows to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The aesthetic style of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle class. Art Nouveau was Europe’s response to the aesthetic style in America and the increase of American glass production, putting glass in the middle-class homes and in buildings. Art deco made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has even been even being used in sculptural elements, like ‘’Lightpainting’’by Stephen Knapp at WPI<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.</ref>. |
<br><br> | <br><br> | ||
Revision as of 15:29, 7 June 2017
The History, Purpose, and Techniques of Stained Glass Windows
Contents
Abstract
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. This can and should be very similar to the paragraph you use to summarize this milestone on your Profile Page. It should contain your main Objective, so be sure to clearly state a one-sentence statement that summarizes your main objective for this milestone such as "a comparison of the text of Medieval English choral music to that of the Baroque" or it may be a question such as "to what extent did religion influence Christopher Wren's sense of design?"
Introduction
I suggest you save this section for last. Describe the essence of this project. Cover what the project is and who cares in the first two sentences. Then cover what others have done like it, how your project is different. Discuss the extent to which your strategy for completing this project was new to you, or an extension of previous HUA experiences.
As you continue to think about your project milestones, reread the "Goals" narrative on defining project milestones from the HU2900 syllabus. Remember: the idea is to have equip your milestone with a really solid background and then some sort of "thing that you do". You'll need to add in some narrative to describe why you did the "thing that you did", which you'd probably want to do anyway. You can make it easy for your advisors to give you a high grade by ensuring that your project milestone work reflects careful, considerate, and comprehensive thought and effort in terms of your background review, and insightful, cumulative, and methodical approaches toward the creative components of your project milestone deliverables.
Section 1: Background
Now you're on your own! Your milestone must include a thorough and detailed background section with detailed subsections; if additional articles are required to be referenced in this background section, create those as well and link to them (the creation of all pages is tracked by the wiki site and attributed to your username). Remember to use rich multimedia whenever possible. Consult the Help page as needed! Remember, if you don't see an article on this site that is an integral part of your project, create it! Your entire page-creating/page-editing history factors into your overall grade.
A Brief History
a. Stained glass is believed to originate from the middle east as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form[1]. Moving forward to the medieval period, the art as it is known today began to take shape. Churches began to commission windows with religious figures and the royalty of the time would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective[2]. The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless[3]. New colors were introduced over the centuries as new metals were found allowing for experimentation into lighter colors and painting, but the Gothic style remained the dominate style with its rich uses of blues and reds. Painting on glass became popular in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window[4]. Donors to the art also began to be immortalized in the windows they paid for by being added into the design, and the windows were appearing in places other than churches[5]. In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries; it also brought the use of perspective to the art form adding dimension to the figures. After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the glass than the painting. The gothic style made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damages the windows and allowed for new windows to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The aesthetic style of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle class. Art Nouveau was Europe’s response to the aesthetic style in America and the increase of American glass production, putting glass in the middle-class homes and in buildings. Art deco made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has even been even being used in sculptural elements, like ‘’Lightpainting’’by Stephen Knapp at WPI[6].
Purpose
The purpose of stained glass is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows[7]. Stained glass is a strong example of how something can transition from just a functional item into an art form. As the glass became larger in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic, in that it represented good and God’s protection in the Old Testament[8]. From the medieval ages onward, the use of stained glass had a dual purpose, to create religious images and to highlight the wealth of those who own the building or paid for the art[9]. In some older homes, governmental buildings, and businesses, stained glass can be found as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light.[10]
Techniques
This will talk about the techniques used to create a stained glass window such as cutting, leading, etc.....
Section 2: Deliverable
In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear.
Creating my own Stained Glass Window
...use as many subsections or main sections as you need to support the claims for why what you did related to your Background section...
The Design
The Process
The Result
A Reflection
...and so on and so forth...
Conclusion
In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers).
References
- ↑ ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.
- ↑ ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.
- ↑ Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.
- ↑ Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.
- ↑ ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.
- ↑ Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.
- ↑ ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.
- ↑ Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.
- ↑ ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed.). Pl. 117. Leonard Hill: London.
- ↑ Chieffo Raguin, V. (2003). The history of stained glass (1st ed.). London: Thames and Hudson.
External Links
If appropriate, add an external links section
Image Gallery
If appropriate, add an image gallery