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Dear Sir:

I am a professional art historian endeavoring to track down information about four stained glass windows that were installed in a Dallas, Texas church around 1916 that reproduced Thomas Cole’s famous four-part allegorical series, “The Voyage of Life”; the original paintings of which are in my institution. The glass windows were made in Minneapolis around 1916, and the church was demolished in the 1960s.

I would be grateful if you would publish this request for information in the next issue of The Stained Glass Quarterly.

Thank you for your assistance,

Sincerely yours,

Paul Schweizer, Ph.D
Director Emeritus
Munson-Williams-Proctor Arts Institute
pschweiz@mwpai.edu
310 Genesee St.
Utica, NY 13502
www.mwpai.org

Stevens’ Glass Artist of the Year Winners Announced

The Glaziers Company is one of the City of London’s medieval Livery Companies, or craft guilds. The history of the Worshipful Company of Glaziers and Painters of Glass dates back to 1328. It was incorporated by Royal Charter and granted Livery in 1638. Its present Master is Alex Galloway CVO.

The annual Stevens’ Competition is open to students and those who have completed training within the last five years. The 2015 competition brief was the design for an archway in the School of Glass at the newly renovated and extended Alex Campus at University of Wales Trinity St David, Swansea.

The Ashton Hill and the Award for Excellence offer opportunities for promising emerging glass artists to develop their skills towards a practical career in stained glass art or conservation by paid-for mentored work placements. Entrants are assessed by CV, portfolio and interview.

Competition judges this year were: Douglas Hogg, Helen Whittaker, John Reyntiens, and Alex Robinson. All are distinguished and experienced glass artists.

Douglas’s design was chosen by The Queen for the Diamond Jubilee Window at the Savoy Chapel in London. Helen Whittaker, from Barley Studios, has designed “Stained Glass in Stitches,” a wall-hanging for the Glaziers Livery Company made in collaboration with the charity Fine Cell Work which was unveiled by the Lord Mayor of London on 6 July 2015. John is a second-generation architectural and stained glass artist whose work can be seen in Westminster Hall in the Houses of Parliament. Alex is a former Stevens’ Competition winner who has created work for the V&A Museum and University College Hospital. She now also tutors in glass art.

The Stevens’ panel of judges followed an anonymous process — they did not know the identities of the people whose work they were judging until after they had come to their decision.

The Chairman of the Judging Panel, Douglas Hogg, said, “It is unusual for the judges to award a joint first prize. On this occasion we agreed that both Anna and Michelle deserved no less, and we congratulate them both, along with the other award-winners. We wish them all well for the future.”

Andy Lane, Chairman of the Glaziers Craft & Competitions Committee said, “I am very grateful to our judges for giving us their time and expertise. Through the annual Stevens’ Competition and associated awards, the Glaziers’ Livery Company continues to support, and showcase, talented students and emerging architectural glass artists and glass conservationists.”

Michael Holman, Stevens’ Competition Coordinator, said, “Plans are already well underway for next year. The Glaziers’ Company will announce the detailed brief for the 2016 Stevens’ Glass Artist of the Year Competition later this autumn.”

Come and Meet the Ancestors

Canterbury Cathedral is exhibiting some of its earliest and most important surviving stained glass.

Canterbury Cathedral’s great treasure of medieval stained glass is crowned by a series of life-size figures representing the Ancestors of Christ, which date to the late 12th and early 13th centuries.  An exhibition, in the Cathedral’s Chapter House, entitled The Ancestors will provide a unique opportunity to view these major works of medieval art at close quarters. The exhibition is being held from Monday, May 18, to Sunday, August 23, 2015.

Designed to be seen at great height, they are usually visible only from a great distance.  After two hugely successful exhibitions in the J. Paul Getty Museum in Los Angeles and at the Metropolitan Museum in New York, the exhibition now gives British and continental audiences the opportunity to Meet the Ancestors face to face, before they return to the re-built Great South Window later this year.

In Canterbury, twenty-one figures will be on show. The monumental designs, executed in vigorous brush strokes, were created by some of Europe’s finest and most avant-garde artists.

The series originally numbered eighty-six life-sized seated patriarchs of the Old Testament, largely based on the list of names contained in the Gospel of St. Luke, interpolated with additional names from the Gospel of St. Matthew. It is the largest number of Ancestors of Christ ever produced in any art form.  Today forty-three survive, of which twenty-two had to be rescued from crumbling stonework in 2009.

There is very little comparable stained glass of this quality and age in the world. Recent research indicates that amongst the late Romanesque glass there may even be a few survivors that pre-date the great fire of 1174.  This would make them by far the oldest painted windows in Britain. Detailed examination has always been hard as such windows are installed at a high level. Its removal has created a unique opportunity to see the dazzling medieval art displayed at ground level.

The exhibition will be accompanied by a number of Friday-evening lectures.

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