Art and Design Commons^™

Heterochrony In The Interpretation Of Stained Glass Windows: A Case Study On Light In The Church Of Orsanmichele, R.J. Maupin

International Journal of Undergraduate Research and Creative Activities

In the last decade, scholars of medieval art have examined how the materiality of religious objects was seen to increase the sacredness of the rituals in which they were used. Christians in the Middle Ages understood that objects had the potential to move from the material (such as glass or gems) to the immaterial (the divine presence of God). While stained glass is a medium that is defined by the mutability of its material, scholars have focused primarily on the iconography of glass windows and the workshop practices of glaziers rather than phenomenological meanings. There is recognition of the visual …

And All The Things That Grew On The Ground, Sarah E. Phillips

Masters Theses, 2020-current

This is a document archiving and describing my work for the years 2019-2021 as part of the completion requirements for the Master of Fine Arts degree. As a whole, this work investigates the paradox and negotiations of access to the self, the history, and to the landscape you occupy. It asks questions about authorship, valuing, sacred and sacrament, but retains the gravitation, umbilical tie to memoir and narrative. Ritual, habit, and transformational cleansing are recurring themes in the work. Body, breath-- access to the invisible. Preservation of the uncertain. Fragility carries weight, and importance, destruction and negotiation as vessels of …

Prurient, Charlotte R. Huss

Senior Projects Spring 2021

I approach my work as a scientist: I go to my lab and execute experiments, concocting mixtures and deducing outcomes. My work becomes a petri dish–a clear blank surface exposed to biological elements that layer and grow until ready for sampling. When the viewer engages in this work the importance lies in the visibility of the process. I used polyurethane, alcohol ink, fabric, and other materials to construct individual layers. These layers are the biological elements that have a life of their own but when examined as a whole these act as indexes for the process of maturity. Through each …

Golden In Glass, Emily Price

Honors Projects

The hymn chosen for this glass piece is “Jerusalem the Golden” which was written by Bernard of Cluny in the 12^th century and set to music by John Neale in the 19^th century. The original tune given to the hymn is known as “Ewing” and was written by Alexander Ewing. Although this hymn is not used in all hymnals and is not as widely known as hymns like “Amazing Grace,” it is a lovely, hopeful one that paints a picture of the wonders of heaven.

Hymn singing is an important part of the Christian church service and has …

The Stained Glass Windows Of The Dewey Graduate Library, Kristen Thornton-De Stafeno

Dewey Graduate Library History

The history and description of the ten 20th century stained glass windows given to the Dewey Graduate Library of the University at Albany by the senior classes of the State Normal College and the New York state college of Teachers.

Choosing Glass: Color And Impressions, Robert N. Oddy

School of Information Studies - Faculty Scholarship

In the last issue of Glass Craftsman, I said that, for me, the choice of glass is probably the most important factor contributing to artistry in stained glass. Tiffany’s company made glass for specific purposes, and raised the medium to a new level of expressive power. Now, we have a huge selection of stained glass available for our creative purposes. We just have to make the effort to familiarize ourselves to what is out there.

The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.

Spontaneity In Stained Glass Work, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Stained glass does not lend itself to spontaneity. We design, thinking always about how the glass will be cut and what glass will be available to us. Then, the fabrication is a very slow and meticulous process, requiring accuracy of cutting so that the pieces fit together closely – glass doesn’t bend, stretch or squash. We have to do too much careful planning, and too much engineering! How can we make our subjects come alive, with movement and energy, when we cannot use our bodies to express these things while we are doing the art?

The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Stained glass artwork often looks flat. Of course, most stained glass panels are flat. What I mean is that the objects depicted look flat. In my own work, I have given a lot of attention to creating the illusion of depth. What is depth? It refers to the spacial dimension that recedes directly away from our eyes into the distance. If a picture has depth, we see some of its elements as solid objects; some appear closer than others; we are aware of foreground, middle distance and background.

The Lead Line Effect: Shape Without The Came, Robert N. Oddy

School of Information Studies - Faculty Scholarship

In a previous article, I have mentioned my view that stained glass work is akin to impressionism. We use the features of the glass to suggest detail in our subject matter. However, I often find that for some details, this approach is not adequate. For an example, see the scales in Koi, figure 1. It is also not always practical to implement this fine detail by joining large numbers of very small pieces of glass. In this article, I will talk about methods that produce effects compatible with the ‘lead’ lines of traditional stained glass, namely the use of copper …

Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Lines in stained glass artwork are important design features. With copper foil and lead came techniques, they are often prominent and black with the light source behind them. Carefully designed and implemented lines can enhance the sense of depth in a picture and have a rather paradoxical nature in our work. I find that I have a rather complicated relationship with my lines.

Plating In Stained Glass: Experience The Beauty, Robert N. Oddy

School of Information Studies - Faculty Scholarship

“Plating” is a piece of stained glass jargon. It refers to the practice of using more than one layer of glass in the construction of a panel. The layers are not fused together. They are simply stacked up, one on top of another and joined by soldering foil or came. I would like to spend a little time on the reasons for using this plating technique. In a future article I may say more about the techniques themselves, but the why’s are more important than the how’s.

The Fall And Rise Of "Owl", Robert N. Oddy

School of Information Studies - Faculty Scholarship

This article is an account of the work of restoring Owl back to good health. Although the task was initially daunting–and I put it off for a while favoring new creations—it turned out to be interesting. I was able to relive the experience of building one of my early windows, going back to an early stage in my career as a stained glass artist. I hope you will find this account good reading. One of the features that makes the Owl repair interesting is that many parts of the window are plated. In other words, they are made with more …

A Stained Glass Artist’S Adventure Into Sculpture: Adding A New Dimension To My Work, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.

Pennsylvania Folklife Vol. 38, No. 4, Ann S. Burrows, Ruthanne Hartung, Stuart Helble, Karen Helble, Frank J. Gallagher, Rae Greiner, William Dean Wright, Wayne Hartzell, Anne Hartzell, Teresa A. Skoog, Mark Osterman, Keith Brintzenhoff, Frederick J. Saul, Beth Kreider, Richard Thomas

Pennsylvania Folklife Magazine

• Celebrating Twenty-Five Years of Quintessential Quilts
• The Folk Art of Fraktur
• Molding & Spinning Pewter
• Kaleidoscopes & Unique Stained Glass
• Dolls are Not Just for Children Anymore
• Paint Decorated Chests of the Pennsylvania Dutch
• Festival Focus
• Festival Programs
• Tiffany-Style Stained Glass Lamps
• Be Aware of What Might be Hiding in Grandma's Attic
• The Medicine Show
• Pennsylvania Dutch Music & More
• A Poor Damsel's Fate
• Silk Screening
• Long Time Favorite Festival Foods

Pennsylvania Folklife Vol. 32, No. 4, John F. Harnish Jr., Gladys Sweigard, Richard Shaner, John L. Lakatosh, Karen Lemonnier, Herman A. Danenhower, Dave Ehrig, Thelia Jean Eaby, James Petrucelli, Larry L. Rahn, William Dean Wright, Ronald Kunkel, Cindy Kunkel, Robert Nettleton, Cheryl Nettleton, Jane Ann Stinsmen

Pennsylvania Folklife Magazine

• Frakturs
• Apple Head Dolls are Unique
• Tableware and Dutch Folklore
• The Pipemaker
• Wheat Weaving
• Beekeeping: Past and Present
• The Pennsylvania Longrifle
• Festival Focus
• Folk Festival Programs
• Quilts
• The Country Butcher
• Stained Glass
• Metal Casting in Sand
• Is This Pure Leather?
• The Horse and Carriage
• Marquetry, Parquetry and Intarsia
• Pennsylvania Dutch Cooking