Stained glass From Wikipedia, the free encyclopedia
The term stained glass can refer to coloured glass as a material or to works made from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture.
Modern vernacular usage has often extended the term "stained glass" to include domestic leadlight and objets d'art created from lead came and copper foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany.
As a material stained glass is glass that has been coloured by adding metallic salts during its manufacture. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in which the colours have been painted onto the glass and then fused to the glass in a kiln.
Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight. Many large windows have withstood the test of time and remained substantially intact since the late Middle Ages. In Western Europe they constitute the major form of pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as 'illuminated wall decorations'.
The design of a window may be non-figurative or figurative; may incorporate narratives drawn from the Bible, history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church - episodes from the life of Christ; within a parliament building - shields of the constituencies; within a college hall - figures representing the arts and sciences; or within a home - flora, fauna, or landscape.
Manufacturing Glass production From the 10th or 11th century, when stained glass began to flourish as an art, glass factories were set up where there was a ready supply of silica, the essential product of glass manufacture. Glass was usually coloured by adding metallic oxides to the glass while in a molten state in a clay pot over a furnace. Glass coloured in this way was known as pot metal. Copper oxides were added to produce green, cobalt for blue, and gold was added to produce red glass. Much modern red glass is produced using ingredients less expensive than gold and giving a brighter red of a more vermilion shade.
Cylinder glass
This glass was collected from the pot into a molten ball and blown, while being continually manipulated until it formed a large cylindrical bottle shape of even diameter and wall-thickness. It was then cut open, laid flat and annealed to make it stable. This is the type of glass most commonly used for ancient stained glass windows.
Crown glass
This glass was partly blown into a hollow vessel, then put onto a revolving table which could be rapidly spun like a potter's wheel. The centrifugal force caused the molten material to flatten and spread outwards. It could then be cut into small sheets. This glass could be made coloured and used for stained glass windows, but is typically associated with small paned windows of 16th and 17th century houses. The concentric, curving ripples are characteristic of this process. The center of each piece of glass received less force during the spinning, and thus produced was a thicker piece. These centres were for the special effect created by their lumpy, refractive quality. They are known as bull's eyes and are feature of late 19th century domestic leadlight and are sometimes also used with cathedral glass or quarry glass in non-pictorial church windows of that date.
Table glass
This glass was produced by pouring molten glass onto a metal table and sometimes rolling it with a large metal cylinder. The glass thus produced is heavily textured by the reaction of the glass with the cold metal. Glass of this appearance is commercially produced and widely used today, under the name of cathedral glass, although it was not the type of glass favoured for stained glass in ancient cathedrals. It has been much used for lead lighting in churches in the 20th century. Modern glass made by this technique is often heavily patterned by the use of an engrave metal roller.
Flashed glass
Red pot metal glass was often undesirably dark in colour and prohibitively expensive. The method developed to produce red glass was called flashing. In this procedure, a semi-molten cylinder of clear glass was dipped into a pot of red glass so that the red glass formed a thin coating. The laminated glass thus formed was cut, flattened and heat annealed.
There are a number of advantages to this technique. It allows a variety in the depth of red ranging from very dark and almost opaque, through ruby red to pale and sometimes streaky red that was often used for thin border pieces. The other advantage was that the red of double-layered glass could be engraved or abraded to allow light to shine through the clear glass underneath. In the late Medieval period, this method was often employed to add rich patterns to the robes of Saints. The other advantage, much exploited by late Victorian and early 20th century artists, was that sheets could be flashed in which the depth of colour varied across the sheet. This was applied to a range of colours. Some stained glass studios, notably Lavers, Barraud and Westlake in England, made extensive use of large segments of irregularly flashed glass in robes and draperies.
Modern production of traditional glass
There are a number of glass factories, notably in Germany, USA, England, France, Poland and Russia, which produce high quality glass by traditional methods. Such glass is produced primarily for the restoration of older windows from 1920s and before. The production of new windows in traditional Victorian, Arts and Crafts and early 20th century styles often uses traditional glass. Modern stained glass windows also often use a variety of these different types of glass, or employ commercially made glass.
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 1500s 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 1600s 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.
Origins Coloured glass has been produced since ancient times. Both the Egyptians and the Romans excelled at the manufacture of small coloured glass objects. The British Museum holds two of the finest Roman pieces, the Lycurgus Cup, which is a murky mustard colour but glows purple-red to transmitted light, and the Portland vase which is midnight blue, with a carved white overlay.
In Early Christian churches of the 4th and 5th centuries there are many remaining windows which are filled with ornate patterns of thinly-sliced alabaster set into wooden frames, giving a stained-glass like effect. Evidence of stained glass windows in churches and monasteries within Britain can be found as early as the 7th century. Benedict Biscop's monasteries in Monkwearmouth and Jarrow have revealed hundreds of pieces of coloured glass and lead from as early as 680 CE.[1] Stained glass was also used by Islamic architects in Southwest Asia by the 8th century, when the alchemist Jābir ibn Hayyān, in Kitab al-Durra al-Maknuna, gives 46 original recipes for producing coloured glass and describes the production of cutting glass into artificial gemstones.[2]
Medieval glass
In the Romanesque and Early Gothic period, from about 950 AD to 1240 AD, the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames, such as may be seen at Chartres Cathedral and at the eastern end of Canterbury Cathedral. As Gothic architecture developed into a more ornate form, windows grew larger, affording greater illumination to the interiors, but were divided into sections by vertical shafts and tracery of stone. The elaboration of form reached its height of complexity in the Flamboyant style in Europe and windows grew still larger with the development of the Perpendicular style in England.
Integrated with the lofty verticals of Gothic cathedrals and parish churches, the glass designs became more daring. The circular form, or rose window developed in France from relatively simple windows with pierced openings through slabs of thin stone to wheel windows, as exemplified by that in the West front of Chartres Cathedral, and ultimately to designs of enormous complexity, the tracery being drafted from hundreds of different points, such as those at Sainte-Chapelle, Paris and the "Bishop's Eye" at Lincoln Cathedral.
The Renaissance and Reformation
In Europe, stained glass continued to be produced with the style evolving from the Gothic to the Classical style, which is widely represented in Germany, Belgium and the Netherlands, despite the rise of Protestantism. In France, much glass of this period was produced at the Limoges factory, and in Italy at Murano, where stained glass and faceted lead crystal are often coupled together in the same window. Ultimately, the French Revolution brought about the neglect or destruction of many windows in France. At the Reformation, in England large numbers of Medieval and Renaissance windows were smashed and replaced with plain glass. The Dissolution of the Monasteries under Henry VIII and the injunctions of Oliver Cromwell against "abused images" (the object of veneration) resulted in the loss of thousands of windows. Few remain undamaged; of them the windows in the private chapel at Hengrave Hall in Suffolk are among the finest. With the latter wave of destruction the traditional methods of working with stained glass died and were not to be rediscovered in England until the early 19th century. See Stained glass - British glass, 1811-1918 for more glass.
Revival of England
The Catholic revival in England, gaining force in the early 19th century, with its renewed interest in the medieval church brought a revival of church building in the Gothic style, claimed by John Ruskin to be "the true Catholic style". The architectural movement was led by Augustus Welby Pugin. Many new churches were planted in large towns and many old churches were restored. This brought about a great demand for the revival of the art of stained glass window making.
Among the earliest 19th century English manufacturers and designers are William Warrington and John Hardman of Birmingham whose nephew, John Hardman Powell, who had a commercial eye and exhibited works at the Philadelphia Exhibition of 1873, influencing stained glass in the United States of America. Other manufacturers include William Wailes, Ward and Hughes, Clayton and Bell, Heaton, Butler and Bayne and Charles Eamer Kempe. A Scottish designer, Daniel Cottier, opened firms in Australia and the US.
Revival in France
In France there was a greater continuity of stained glass production than in England. In the early 19th century most stained glass was made of large panes that were extensively painted and fired, the designs often being copied directly from oil paintings by famous artists. In 1824 the Sèvres Porcelain factory began producing stained glass to supply the increasing demand. In France many churches and cathedrals suffered despoilation during the French Revolution. During the 19th century a great number of churches were restored by Viollet-le-Duc. Many of France's finest ancient windows were restored at this time. From 1839 onwards much stained glass was produced that very closely imitates medieval glass, both in the artwork and in the nature of the glass itself. The pioneers were Henri Gèrente and Andre Lusson.[3] Other glass was designed in a more Classical manner, and characterised by the brilliant cerulean colour of the blue backgrounds (as against the purple-blue of the glass of Chartres) and the use of pink and mauve glass.
Revival in Europe
During the mid to late 19th century, many of Germany's ancient buildings were restored, and some, such as Cologne Cathedral were completed in the medieval style. There was a great demand for stained glass. The designs for many windows were based directly on the work of famous engravers such as Albrecht Dürer. Original designs often imitate this style. Much 19th century German glass has large sections of painted detail rather than outlines and details dependent on the lead. The Royal Bavarian Glass painting Studio was founded by Ludwig I in 1827.[3] A major firm was Mayer of Munich which commenced glass production in 1860, and is still operating as Franz Mayer of Munich, Inc.. German stained glass found a market across Europe, in America and Australia. Stained glass studios were also founded in Italy and Belgium at this time.[3]
Innovations in the United States
Notable American practitioners include John La Farge (1835–1910) who invented opalescent glass and for which he received a US patent February 24, 1880, and Louis Comfort Tiffany (1848–1933), who received several patents for variations of the same opalescent process in November of the same year and is believed to have invented the copper foil method as an alternative to lead, and used it extensively in windows, lamps and other decorations.
Innovations in Britain and Europe
Among the most innovative English designers were the Pre-Raphaelites, William Morris (1834–1898) and Edward Burne-Jones (1833–1898), whose work heralds Art Nouveau. Art Nouveau or Belle Epoch stained glass design flourished in France, and Eastern Europe, where it can be identified by the use of curvings sinous lines in the lead, and swirling motifs. In France it is seen in the work of Francis Chigot of Limoges. In Britain it appears in the refined and formal leadlight designs of Charles Rennie Macintosh.
Twentieth century
Many 19th-century firms failed early in the twentieth century as the Gothic movement had been superseded by newer styles. At the same time there were also some interesting developments where stained glass artists took studios in shared facilities. Examples include the Glass House in London set up by Mary Lowndes and A.J. Drury and An Túr Gloine in Dublin, which was run by Sarah Purser.
A revival occurred in the middle of the century because of the desire to restore the thousands of church windows throughout Europe, destroyed as a result of bombing during the World War II. German artists led the way. Much work of the period is mundane and often was not made by its designers but industrially produced.
Other artists sought to transform an ancient art form into a contemporary one, sometimes using only traditional techniques but often exploring the medium of glass in different ways and in combination with different materials. The use of slab glass set in concrete was another 20th-century innovation. Gemmail, a technique developed by the French artist Jean Crotti in 1936 and perfected in the 1950s, is a type of stained glass where adjacent pieces of glass are overlapped, without using lead nervures to join the pieces, allowing for a greater diversity and subtlety of colour.[4][5] Many famous works by late 19th- and early 20th-century painters, notably Picasso, have been reproduced in gemmail.[6] A major exponent of this technique is the German artist Walter Womacka.
Among the early well-known 20th-century artists who experimented with stained glass as an Abstract art form were Theo van Doesburg and Piet Mondrian. In the 1960s and 70s the Expressionist painter Marc Chagall produced designs for many stained glass windows that are intensely coloured and crammed with symbolic details. Important 20th-century stained glass artists include Douglas Strachan, Ervin Bossanyi, Louis Davis, Wilhelmina Geddes, Karl Parsons, Patrick Reyntiens, Ludwig Schaffrath, Johannes Shreiter, Judith Schaechter, Paul Woodroffe, Jean René Bazaine at Saint Séverin and the Loire Studio of Gabriel Loire at Chartres. The Luxus Keibel studio in Mexico specialises in domestic stained glass in both contemporary and 19th century styles. The west windows of England's Manchester Cathedral, by Tony Hollaway, are some of the most notable examples of symbolic work.
In the US, there is a 100-year-old trade organization, The Stained Glass Association of America, whose purpose is to function as a publicly recognized organization to assure survival of the craft by offering guidelines, instruction and training to craftspersons. The SGAA also sees its role as defending and protecting its craft against regulations that might restrict its freedom as an architectural art form. The current president is B. Gunar Gruenke of the Conrad Schmitt Studios. Today there are academic establishments that teach the traditional skills. One of these is Florida State University's Master Craftsman Program who recently completed a 30 ft high stained-glass windows installed in Bobby Bowden Field at Doak Campbell Stadium.
References
1.^ Discovering stained glass - John Harries, Carola Hicks, Edition: 3 – 1996
2.^ Ahmad Y Hassan, The Manufacture of Coloured Glass and Assessment of Kitab al-Durra al-Maknuna, History of Science and Technology in Islam.
3.^ a b c Gordon Campbell, The Grove Encyclopedia of Decorative Arts, Oxford University Press, ISBN 0-19-518948-5
4.^ Le grand dictionnaire Québec government's online dictionary entry for gemmail (in French)
5.^ Gemmail, Encyclopædia Britannica]
6.^ [1], Gemmail Time
Hampton Court Palace is a royal palace in the London Borough of Richmond upon Thames in south west London; it has not been lived in by the British royal family since the 18th century. The palace is located 11.7 miles (18.8 km) south west of Charing Cross and upstream of Central London on the River Thames. It was originally built for Cardinal Wolsey, a favourite of King Henry VIII, circa 1514; in 1529, as Wolsey fell from favour, the palace was passed to the King, who enlarged it.
The following century, William III's massive rebuilding and expansion project intended to rival Versailles was begun.[1] Work halted in 1694, leaving the palace in two distinct contrasting architectural styles, domestic Tudor and Baroque. While the palace's styles are an accident of fate, a unity exists due to the use of pink bricks and a symmetrical, albeit vague, balancing of successive low wings.[2]
Today, the palace is open to the public, and is a major tourist attraction. It is cared for by an independent charity, Historic Royal Palaces which receives no funding from the Government or the Crown.[3]
The palace's Home Park is the site of the annual Hampton Court Palace Festival and Hampton Court Palace Flower Show. Along with St. James's Palace, it is one of only two surviving palaces out of the many owned by Henry VIII.
The double height chapel was begun by Wolsey and completed under Henry VIII. Its timber and plaster ceiling, a Gothic vault with Renaissance pendants completed by trumpeting boys, is considered the "most important and magnificent in Britain."[20] The altar is framed by a massive oak reredos in Baroque style carved by Grinling Gibbons during the reign of Queen Anne.[20] Opposite the altar, at first floor level, is the royal pew where the royal family would attend services apart from the general congregation seated below. Queen Catherine Howard was painfully dragged down this gallery pleading to Henry not to be executed. From Wikipedia, the free encyclopedia
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Historical Stained Glass
Medieval glass
Medieval glass
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Medieval glass
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The Renaissance and Reformation
Twentieth century
Medieval glass
The Renaissance and Reformation
The Renaissance and Reformation
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Revival in Britain
Revival in Britain
Twentieth century
Saint Patrick's Cathedral, Armagh, Ireland, 13-15th century
Innovations in the United States
The Renaissance and Reformation
Revival in France
Medieval glass
Twentieth century
Saint Patrick's Cathedral, Armagh, Ireland, 13-15th century
Medieval glass
Medieval glass
Medieval glass
Revival in France
Twentieth century
Revival in Europe
Saint Patrick's Cathedral, Armagh, Ireland, 13-15th century
Revival in Europe
Saint Patrick's Cathedral, Armagh, Ireland, 13-15th century
The Renaissance and Reformation
The Renaissance and Reformation
Saint Patrick's Cathedral, Dublin, Ireland, 19-20th century
Twentieth century
Twentieth century
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Saint Patrick's Cathedral, Armagh, Ireland, 13-15th century
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Medieval glass
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Louis Comfort Tiffany From Wikipedia, the free encyclopedia
Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewelry, enamels and metalwork.[1]
Personal life
Tiffany was the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. Louis married Mary Woodbridge Goddard (c1850-1884) on May 15, 1872 in Norwich, Connecticut and had the following children: Mary Woodbridge Tiffany (1873-1963) who married Graham Lusk; Charles Louis Tiffany I (1874-1874); Charles Louis Tiffany II (1878-1947); and Hilda Goddard Tiffany (1879-1908), the youngest. After the death of his wife, he married Louise Wakeman Knox (1851-1904) on November 9, 1886. They had the following children: Louise Comfort Tiffany (1887-1974); Julia DeForest Tiffany (1887-1973) who married Gurdon S. Parker then married Francis Minot Weld;[2] Annie Olivia Tiffany (1888-1892); and Dorothy Trimble Tiffany (1891-1979), who, as Dorothy Burlingham, later became a noted psychoanalyst and lifelong friend and partner of Anna Freud. Many of Tiffany's descendants are active in the arts, politics, and the sciences. Only one descendant is working in glass today — Dr. Rodman Gilder Miller of Seattle, Washington.
He attended school at Pennsylvania Military Academy[3] in Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness and Samuel Colman in New York City and Léon Bailly in Paris.
Career
Louis Comfort Tiffany started out as a painter. He became interested in glassmaking from about 1875 and worked at several glasshouses in Brooklyn between then and 1878. In 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. Tiffany's leadership and talent, as well as by his father's money and connections, led this business to thrive.Their most notable design in 1881 was the opalescent floor to ceiling glass screen commissioned for the White House by President Chester A. Arthur. The interior design of the Mark Twain House in Hartford CT. was also done in 1881 and still remains.
A desire to concentrate on art in glass led to the breakup of the firm in 1885, when Tiffany chose to establish his own glassmaking firm later that same year. The first Tiffany Glass Company was incorporated on December 1, 1885, which in 1902 became known as the Tiffany Studios.
The Holy City (1905) – St. John's vision on the isle of Patmos.
Having 58 panels, this window is said to be one of the largest made by the Tiffany Studios. It is located at Brown Memorial Presbyterian Church (Baltimore, Maryland), which has eleven Tiffany windows.In the beginning of his career,Tiffany used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. This can be contrasted with the method of painting in glass paint or enamels on colorless glass that had been the dominant method of creating stained glass for several hundred years in Europe. (The First Presbyterian Church building of 1905 in Pittsburgh, Pennsylvania is unique in that it uses Tiffany windows that partially make use of painted glass.) Use of the colored glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Fellow artist and glassmakers Oliver Kimberly and Frank Duffner, founders of the Duffner and Kimberly company, and John La Farge were Tiffany's chief competitors in this new American style of stained glass. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late-1870s.
In 1893, Tiffany built a new factory called the Stourbridge Glass Company, later called Tiffany Glass Furnaces, which was located in Corona, Queens, New York. In 1893, his company also introduced the term, Favrile in conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 World's Fair in Chicago.At the Exposition Universelle (1900),Paris 1900,he won a gold medal with his stained glass windows The Four Seasons
He trademarked Favrile (from the old French word for handmade) on November 13, 1894. He later used this word to apply to all of his glass, enamel and pottery. Tiffany's first commercially produced lamps date from around 1895. Much of his company's production was in making stained glass windows and Tiffany lamps, but his company designed a complete range of interior decorations. At its peak, his factory employed more than 300 artisans. Recent scholarship led by Rutgers professor Martin Eidelberg suggests that a team of talented single women designers led by Clara Driscoll played a big role in designing many of the floral patterns on the famous Tiffany lamp as well as for other creations.[4][5][6][7][8]
Tiffany interiors also made considerable use of mosaics. The mosaics workshop, largely staffed by women, was overseen until 1898 by the Swiss-born sculptor and designer Jacob Adolphus Holzer.
Tiffany used all his skills in the design of his own house, the 84-room Laurelton Hall, in the village of Laurel Hollow, on Long Island, New York completed in 1905. Later this estate was donated to his foundation for art students along with 60 acres (243,000 m²) of land, sold in 1949, and was destroyed by a fire in 1957.
The Charles Hosmer Morse Museum of American Art in Winter Park, Florida houses the world's most comprehensive collection of the works of Louis Comfort Tiffany ([9] in Europe it is in Accrington,England) including Tiffany jewelry, pottery, paintings, art glass, leaded-glass windows, lamps, and the chapel interior he designed for the 1893 World's Columbian Exposition in Chicago. After the close of the exposition, a generous benefactor purchased the entire chapel for installation in the crypt of the Cathedral of Saint John the Divine, New York in New York City. As construction on the cathedral continued, the chapel fell into disuse, and in 1916, Tiffany removed the bulk of it to Laurelton Hall. After the 1957 fire, the chapel was rescued by Hugh McKean,[10] a former art student in 1930 at Laurelton Hall, and his wife Jeannette Genius McKean,[11] and now occupies an entire wing of the Morse Museum which they founded. Many glass panels from Laurelton Hall are also there; for many years some were on display in local restaurants and businesses in Central Florida. Some were replaced by full-scale color transparencies after the museum opened. A major exhibit at New York's Metropolitan Museum of Art on Laurelton Hall opened in November 2006. A new exhibit at the New-York Historical Society through 28 May 2007 features new information about the women who worked for Tiffany and their contribution to designs credited to Tiffany.[12] In addition, since 1995 the Queens Museum of Art has featured a permanent collection of Tiffany objects, which continues Tiffany’s presence in Corona, Queens where the company's studios were once located.
The only Tiffany windows outside of the USA are situated at the American Church in Paris on the Quai d'Orsay. They are classified as National Monuments by the French government and were commissioned by Rodman Wanamaker in 1901 for the original American Church building on the right bank of the Seine.
Death
Louis Comfort Tiffany died on January 17, 1933, and is buried in Green-Wood Cemetery in Brooklyn, New York.[13]
References
1.^ William Warmus. The Essential Louis Comfort Tiffany. New York: Abrams, 2001. Pages 5-8.
2.^ "Mrs. Parker Weds Francis M. Weld; Daughter of Louis Comfort Tiffany Married at Her Sister's Home in Oyster Bay, Long Island. Bridegroom, Bond Broker. He was a Captain of Artillery in World War. Bride Is Former Wife of Gurdon S. Parker.". The New York Times. 1930-08-18. "Mrs. Julia Tiffany Parker, daughter of Louis Comfort Tiffany of this city and Miami, Florida, was married to Francis Minot Weld of 720 Park Avenue yesterday afternoon at the home of the bride's sister, Mrs. Rodman Gilder, Oyster Bay, Long Island."
3.^ "Widener University: Distinguished Alumni". Widener University. http://widener.edu/pmcmuseum/distinguishedalumni.asp. Retrieved 2008-10-06.
4.^ KATE TAYLOR (February 13, 2007). "Tiffany's Secret Is Over". New York Sun. http://www.nysun.com/arts/tiffanys-secret-is-over/48495/. Retrieved 2009-11-16. "The exhibition was made possible by the discovery of Driscoll's letters by two of the show's curators, an emeritus professor of art history at Rutgers University, Martin Eidelberg, and a former associate curator of decorative arts at the N-YHS..."
5.^ Caitlin A. Johnson (April 15, 2007). "Tiffany Glass Never Goes Out Of Style". CBS News.com. http://www.cbsnews.com/stories/2007/04/15/sunday/main2685085.shtml. Retrieved 2009-11-16. "Experts ... and Martin Eidelberg are friendly rivals in Tiffany scholarship who independently discovered hundreds of the long, detailed letters Driscoll wrote to her family. "I just blurted it out and said, 'You won't believe what I found — letters from Clara Driscoll,' and she replied, in this kind of deadpan voice, 'I already know them," Eidelberg said."
6.^ Jeffrey Kastner (February 25, 2007). "Out of Tiffany’s Shadow, a Woman of Light". New York Times. http://www.nytimes.com/2007/02/25/arts/design/25kast.html?pagewanted=print. Retrieved 2009-11-16. "He was co-curator of the exhibition with the independent scholar ... and the historical society’s curator of decorative arts, Margaret K. Hofer."
7.^ Vivian Goodman (January 14, 2007). "Exhibition Honors Woman Behind the Tiffany Lamp". National Public Radio (NPR). http://www.npr.org/templates/story/story.php?storyId=6854160. Retrieved 2009-11-16. "But arts and crafts were second nature to Driscoll, the country girl who was 20 years Tiffany's junior..."
8.^ Staff writer (April 7, 2006). "Spare Times". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9401E1D61030F934A35757C0A9609C8B63. Retrieved 2009-11-16. "'THE GENIUS OF LOUIS COMFORT TIFFANY,' Green-Wood Cemetery, Fifth Avenue and 25th Street, Greenwood Heights, Brooklyn. A lecture ... a curator of the Neustadt Collection of Tiffany Glass at the Queens Museum of Art, New York City Building, Flushing Meadows-Corona Park."
9.^ Haworth Art Gallery [1] the largest public collection of Tiffany glass in Europe. Haworth art Gallery ,Accrington England,
10.^ Hugh McKean
11.^ Jeannette Genius McKean
12.^ http://news.yahoo.com/s/ap/20070223/ap_en_ot/art_tiffany_girls
13.^ "Louis C. Tiffany, Noted Artist, Dies. Philanthropist, Craftsman And Son Of Founder Of Jewelry Firm Pneumonia Victim. Devised Glass Formulae. Decorative Work In Medium Was Widely Known. Devoted Oyster Bay Estate To Students.". New York Times. 1933-01-18. http://select.nytimes.com/gst/abstract.html?res=FB0817F8355F1A7A93CAA8178AD85F478385F9. Retrieved 2008-04-14.
Writings
The Art work of Louis C Tiffany (biography as dictated to Charles de Kay) Doubleday, Page & Co New York 1916
Further reading
Vivienne Couldrey, The Art of Louis Comfort Tiffany, Bloomsbury Publications.London 1989 ISBN 0-7475-0488-1
Alastair Duncan, Tiffany Windows,Thame & Hudson ,Lodon, 1980 ISBN 978-0-50023-321-4
Robert H Koch, Louis C Tiffany-Rebel in Glass , Crown Publishers Inc New York,3rd Ed 1982 ASIN B 0007DRJK0
Ernest Edwin Logan (1973). The Church That Was Twice Born-A History of the First Presbyterian Church Of Pittsburgh, Pennsylvania 1773-1973. Pittsburgh, PA: Pickwick-Morcraft.
Stained Glass of L. C. Tiffany
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