Stained Glass Windows

Chronique

Vitraux, XIXe-XXe siècle. Louis Léglise : redécouverte d’un peintre-verrier, collaborateur régulier d’Henri-Marcel Magne, p. 3-4.

Recension de l'article : Hélène Bocard, «Le peintre-verrier Léglise : des chantiers religieux de Henri-Marcel Magne au décor de mairies parisiennes», Point Riche, no 17, juin 2019, p. 3-16.

(ITALIANO)
Frutto di un’indagine accurata e sistematica, questo studio sull'arte vetraria del Rinascimento nel Comasco e nella Valtellina presenta rilevanti novità sia dal punto di vista metodologico, sia negli esiti della ricerca, che ne hanno fatto un punto di partenza obbligato per gli sviluppi successivi della materia.

(ENGLISH)
As a result of a thorough and systematic investigation, this essay on Renaissance stained glass windows art in Comasco and Valtellina presents significant novelties both from the methodological point of view and the results of the research. This has made it a starting point for subsequent developments on the subject.

ABSTRACT not yet available

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English version, for German version see below: "Licht(t)räume" (Dreams of light – Spaces of light) – The title of the Festschrift in honor of Brigitte Kurmann-Schwarz is more than just a play on words. It is evident to include the term light with its extensive fields of meaning in the Festschrift of Brigitte Kurmann-Schwarz. This by the fact that it is only through light that stained glass, which is the main subject of the long-term research of the jubilee, get its specific luminous effect: The colored panes spread and shape the light in interaction with architecture and create a exceptional atmosphere, especially in sacred spaces. It was not Brigitte Kurmann-Schwarz intent to research stained glass as an isolated form of art, but always in relation to its architectural context, its original functions and in relation to other visual media. Deutsche Version: "Licht(t)räume" - Der Titel der Festschrift ist mehr als nur ein Wortspiel. Den Begriff Licht mit seinen reichhaltigen Bedeutungsfeldern in den Band zu Ehren von Brigitte Kurmann-Schwarz einzubeziehen, liegt nahe. Denn erst durch das Licht erhalten die transluziden Glasmalereien, welche den Hauptgegenstand der langjährigen Forschungstätigkeit der Jubilarin bilden, ihre spezifische leuchtende Wirkung: Die farbigen Scheiben verbreiten und gestalten das Licht im Zusammenspiel mit der gebauten Architektur und schaffen vor allem in sakralen Räume eine besondere Atmosphäre. Es ist ein Anliegen von Brigitte Kurmann-Schwarz gewesen, die Glasmalerei nicht als isolierte Kunstgattung, sondern in Bezug auf ihren architektonischen Kontext, ihre ursprünglichen Funktionen und im Verhältnis zu anderen Bildmedien zu erforschen.

Gotrand Auriane, « De l’esquisse au vitrail : Les processus de création dans l’atelier de Claudius Lavergne », communication à l'occasion du 30e colloque international du Corpus Vitrearum, The concept and fabrication of Stained Glass from the middle age to Art Nouveau, Barcelone, Institut d’Estudis Catalans, juillet 2022.

Chronique

Notre-Dame de Paris. Vitraux. Les douze vitraux modernes à la cathédrale Notre-Dame de Paris en 1935 (Auriane Gotrand), p. 183.

Recension de l'article : Bérénice Vallet,  « Le projet de vitraux pour la cathédrale Notre-Dame de Paris en 1935», Point Riche, no 17, juin 2019, p. 45-50.

Taller Amigó (1701)1865-1920(1981) (linked to below)
Names: Eudaldo Ramon Amigó (1865-85); Hijos de Eudaldo Ramon Amigó (1885-1892); Hijo de Eudaldo Ramon Amigó y compañía, sociedad en comandita (1892-1920); Artes del vidrio y molduras s.a. Sucesora de Pelegrí y Amigó, José Homs y Luís Oriach.
They were successors of Josep Ravella and Hipòlit Campmajor and the workshop continued with Antoni Oriach (Artes del Vidrio A. Oriach) since 1981.
The workshop was placed in Barcelona: Espaseria, 18 (first place); Tapineria, 44 (office since 1869); Corts, 238 (workshop 1869-85); Corts 102 and Viladomat 110-112 (workshop since 1885).
Eudaldo Ramon Amigó (1818-1885) was the founder and director (1870-1885) of the most relevant company in neo-gothic style of Catalan stained glass windows. His sons continued the work. Amigó’s workshop worked in conservation and creation of stained glass windows. His firm made possible the change of technique that led to the 19th century revival of Catalan stained glass windows.

Ensayo sobre la vida y obra del artista irlandés Harry Clarke (1889-1931), que analiza algunos aspectos de su obra de diseñador de vidrieras e ilustrador, destacando la mezcla de estilos que constituyen el suyo, enumerando sus principales influencias artísticas; ofreciendo, además, una síntesis biográfica y de su obra, así como proponiendo una hipótesis interpretativa en torno a uno de sus trabajos ("The Mad Mulranies" y una posible inspiración compositiva en "La Romería de San Isidro" de Goya).

Coordinación del nº 279, monográfico, sobre "Bellas Artes y Espiritualidad". Las "Bellas Artes" escogidas y los articulistas en este número (se hace constar si es artículo o nota): ARTES MAYORES: 1. PINTURA: Arturo Beltrán Ortells, ocd (artículo). 2. ESCULTURA: Eduardo Sanz de Miguel, ocd (artículo). 3. ARQUITECTURA: Marina Álvarez Alonso y José Miguel Barbero Sánchez (artículo); Ignacio Husillos Tamarit, ocd (artículo). 4. LITERATURA: Ignacio Husillos Tamarit, ocd (nota). 5. MÚSICA (ya se publicaron dos números monográficos sobre la relación de esta bella arte con la espiritualidad). 6. ARTES ESCÉNICAS (ya se publicó un número monográfico sobre la relación de esta bella arte con la espiritualidad). 7. CINE: Carlos Eymar (artículo). ARTES MENORES: 1. VIDRIERAS: Montserrat de la Cruz, ocd (nota).

The multidisciplinary EC VIDRIO project has the purpose of providing a better understanding of the effect of the environment on glass surfaces and paint (grisaille) and to evaluate the efficiency of the protective glazing system, in order to find sustainable solutions to protect ancient stained glass windows from the main causes of glass weathering, in particular the condensation phenomenon. Hence, a new device, named “dew point sensor”, was built and patented to protect the stained glass windows by detecting the condensation on the glass surface. The research was focused on laboratory tests and experimental campaigns: two important French monuments, Sainte-Chapelle in Paris and Saint-Urbain Basilica in Troyes, were monitored, while the study in Cologne Cathedral (Germany) is still in progress. Three different systems were used to detect the phenomenon of condensation in order to evaluate and compare their accuracy and reliability: the indirect measurement through mathematic calculations using air temperature and relative humidity, and two direct measurements by means of the dew point and the leaf wetness sensors. The laboratory tests and research in the field made evident the errors associated with the measurements of the condensation process, and the accuracy and reliability of the new device. The efficiency of the protective glazing system, as regards to the weathering of the stained glass windows, has been confirmed. In fact, the presence of a protective glazing reduces the danger of condensation on the internal side of the ancient window and also the total time of the high relative humidity values of the air in contact with the protected window.