Art Glass Research Articles

Stained Glass in Lingnan Historic Buildings and Its Application in Manchuria Windows

Stained glass has been extensively applied in Lingnan historic buildings, especially unique stained art glass windows which will be usually used at doors and windows needing large-area lighting for the purpose of ventilation and lighting, and they are called Manchuria windows. First of all, under the historical application background of stained glass in the Lingnan area, this study discussed the types of stained glass and the technological development in Guangzhou. Secondly, the fabrication process of glass etchings was generalized. Next, the application laws of stained glass in Manchuria windows of Lingnan historic buildings were explored. Finally, the basic combination modes of stained glass applied in Manchuria windows were obtained. These laws and modes can not only provide a reference for the repair of Lingnan historic buildings but also constitute an enlightenment on the windowing form and artistic creation of modern buildings.

Entrapment within Inner Space: The Development and Review of Other Materials as Intentional Inclusions within Glass as a Creative Artistic Practice

This paper will introduce the use of intentional inclusions and inner space within glass as a means of creative expression, as an emerging area of practice-based research within the field of art glass. This includes the definition of key concepts, a short history of inclusions in glass, the development of technologies used by material scientists working with inclusions and the industrial applications of inclusions in glass will be discussed. This paper will discuss the completed doctoral research of Jessamy Kelly who explored ceramic inclusions within glass and Goshka Bialek who explored metal inclusions within glass. Both glass artists explored the use of foreign, intentional inclusions which have been entrapped within glass within their doctoral research. Glass artists that use a variety of metal, ceramic and other inclusions to penetrate the internal space of their objects will also be introduced. This paper will set the parameters of the field providing an in-depth study into the concept and use of inclusions which plays an important part in understanding why some glass artists use inclusions within their glass. It is significant to recognise a collective response, from many artists detailed in this paper and their exploration of the internal space within art glass objects, to create an inner space or world within their artworks. This paper will define and explore the variety of ways, both from a historical and contemporary perspective, that inclusions in glass, have been combined together over many years.

Art and Science in Contemporary Art Glass

Art and Science in Contemporary Art Glass

LOW TEMPERATURE LUMINESCENT ENAMELS FOR GLASS ART APPLICATIONS

LOW TEMPERATURE LUMINESCENT ENAMELS FOR GLASS ART APPLICATIONS

Moscow stained glass art of the late 19th - early 20th centuries and the creative ideas of C.R. Macintosh

Moscow stained glass art of the late 19th - early 20th centuries and the creative ideas of C.R. Macintosh

Art of Fire of Ukraine in the Context of European Artistic Process (Exemplified by National and International Competitive Exhibitions of Ceramic Art and Glass Art)

The article presents a detailed analysis of achievements of Ukrainian artists working in the field of art of fire, in particular professional ceramics and glassworks, while attracting close attention in the general artistic process of the 1980s to 2010s. Losses of the art industry in Ukraine in the 1990s did not stop the artists from searching the ways to streamline decorative imagery, as well as non‑standard approaches to materials in the individual work of artists in this field. European and global biennials and triennials of decorative art considerably contributed to finding new ways of the art of fire development. During such events masters of various artistic trends and schools exchanged their experience. And that proved to be the most powerful stimulus for both intensification of creativity and strengthening experimental activities in exposition works of Ukrainian artists at the turn of the 20th and 21st centuries. Since then, Ukrainian masters of ceramics and glassworks have begun mastering the heritage of artists from other countries, which contributed to the diversification of formal techniques of Ukrainian artists of decorative art. This, in its turn, has led to the emergence of various conceptual works, installations, and complicated spatial compositions. The author also carefully considers national competitive exhibitions, all‑Ukrainian presentations and symposia, which helped to introduce the latest artistic ideas and technologies of the art of fire masters. This study is actualized by globalization processes taking place in civilization. Stating specific challenges posed by the globalization to national culture, the author, at the same time, finds arguments in favor of its positive effects on art. A rapid entry of Ukrainian ceramic and glass artists into the global context at the turn of the 20th – 21st centuries, does not bring about a danger of dissolving in it, given the nature of professional decorative art of Ukraine. The art of fire is perceived as a powerful branch in the field of national culture with its inherent features of authentic spiritual genetics, as a dynamic balance of centuries‑old traditions and modern fine arts. It is paradoxical, the author believes, that globalization generates the opposite process as well: it directs Ukrainian artists to search for archetypes of their own culture, returns to their national historical heritage, and stimulates the preservation of national identity, as a result of which the art of fire becomes an important factor of national and cultural identification. In the context of professional decorative art problems and from the viewpoint of national and cultural identification in the conditions of globalization processes in Ukraine, such an aspect of studying the art of fire within the field of art history science is considered for the first time.

Visual Interference in the Glass Facade

The paper analyses questions concerning the integration of architecture and art. The objective of this publication is to examine visual interferences that occur in architecture and to determine their effects on how the building is seen and on the architectural space. This phenomenon is an important artistic issue that opens the way for new compositional values in architecture. Visual interferences can occur when there are at least two layers of an image composed of repetitive elements, put in a certain order. Overlapping of graphical layers results in image concentration, and in this way compositions such as lines, circles and polygons are created, which are known as interference patterns. In art glass, it is possible to remove image layers from each other, thus obtaining an additional effect. This creates visually mobile surfaces, which react to movement of the observer. The present paper will analyse this phenomenon with the aim to determine what principles govern the occurrence of visual interferences as well as how they affect the building’s reception. The typology, classification and characteristics of each type of arrangements will be presented. An attempt will also be made to establish conditions for the design of interference arrangements, which may be used as guidelines by graphic artists and designers alike. The phenomenon will be examined based on buildings created over the past two decades. Examples will include works set both on the façade as well as in the interior of buildings. Due to the global nature of artistic phenomena, no restriction is given on the area where the examinations take place.

PM10-bound arsenic emissions from the artistic glass industry in Murano (Venice, Italy) before and after the enforcement of REACH authorisation

The island of Murano (Venice, Italy) is famous worldwide for its artistic glass production. Diarsenic trioxide was a main ingredient of the raw glass mixture until 2015, when the authorisation process of European REACH Regulation (Registration Evaluation Authorisation of Chemicals) entered into force, effectively forbidding the use of arsenic. A total of 3077 PM10 samples were collected across the Venice area in 2013–2017. This period included the REACH Sunset Date (May 2015). High arsenic concentrations were recorded in Murano before the Sunset Date (average 383 ng/m3), representing a serious concern for public health. Other sites in Venice complied with the EU target value. In 2013, concentrations were 36-folds higher than model estimation computed over the maximum-allowed emission scenario. Polar plot analysis indicated Murano as the major source of arsenic contamination. The concentration significantly dropped after the REACH implementation, thus meeting the European target values. However, high peaks of arsenic were still detected; inspections on raw and finished glass materials confirmed that some factories were still using arsenic. Results reported serious airborne arsenic pollution in Murano before the REACH implementation. This work represents an interesting case study on the effectiveness of the European REACH process.

ВНЕСОК ПРОФЕСІЙНОЇ (ПРОФЕСІЙНО-ТЕХНІЧНОЇ) ОСВІТИ У ВІДРОДЖЕННЯ ВІТРАЖНОГО МИСТЕЦТВА НА ЛЬВІВЩИНІ

The contribution of vocational education and training to the revival of stained glass art in Western Ukraine and in particular in Lviv region is considered. The popularity of stained glass products in Western Ukraine is due to the development of this art in European countries and the opportunities for local development of the glass industry. The interrelation of the development of stained glass art with socio-economic, cultural and technological changes, which resulted in the division into high art and ordinary craft, is substantiated. High art has always been associated with the work of professional artists. The peculiarities of the functions performed by the participants in the birth process of a stained glass art work are given. It is shown that in modern conditions in the development of stained glass art there is a close cooperation of master performers and professional artists. The result of such cooperation is the improvement of products intended for the general public. The relationship between professional artists and stained glass workers is outlined on the example of the Lviv Higher Vocational Art School, the Department of Art Glass of the Lviv National Academy of Arts and glass industry enterprises. In order to train the specialists-performers in the educational institution of vocational education, a standard of the stained glass profession was developed, the new edition of which expanded and deepened the possibilities of the profession. In order to revive the traditions of stained glass in Western Ukraine, a Center was established on the basis of the institution, which provides educational services for various segments of the population in mastering its art. The problems of the glass industry development in Ukraine are highlighted and the attitude of the Association of its producers to the artistic aspect of production is revealed. The problems of stained glass performers training are identified and ways to solve them are suggested.

PENENTUAN STRATEGI PEMASARAN DALAM MEMPERTAHANKAN EKSISTENSI DAN MENGADAPI PERSAINGAN (Studi Kasus Pada Gemilang Art Glass Di Modo)

Appropriate marketing strategies are needed to increase sales and achieve the goals of a company. This research was conducted to determine marketing strategies using SWOT analysis so that a company is able to maintain its existence and face competition and what is the most appropriate strategy that can be applied to a company. The research was conducted at Gemilang Art Glass Company in Modo. From the results of the SWOT analysis showed that the strength (strength) 3.66, and weakness (weakness) 0.76, opportunity (opportunity) 2.86, and the threat (threatr) 1.28. From the SWOT diagram above can be seen from the difference in strength (strength) and weakness (weakness) score higher strength (strength) with a difference (+) 2.9, while the difference in the opportunity (opportunity) and threat (threat) score value is higher the opportunity (opportunity) with a difference (+) 1.58. So that it clearly shows that Gemilang Art Glass has been dealing with the right path by continuing to carry out aggressive strategies to increase sales. Based on the above results it can be concluded that an aggressive strategy that can be done is the S-O strategy. The strategy includes improving quality and service so that consumers feel satisfied and comfortable and attract new customers, increase company capacity by utilizing the ability of teamwork and company experience to reach potential markets, provide information about new products to consumers by using internet technology, and by treating employees well and establish a sense of brotherhood will make employees always professional and disciplined in carrying out the work.

Glass Artworks of the Naive Artist Albert Korovkin

Naïve art is still under-represented in Russian museum and professional art institutions, with the works and heritage by many artists remaining under-exhibited and underresearched. Albert Korovkin (1935) is an artist whose name features in the World Encyclopaedia of Naive Art. His works entered the collection of the Yekaterinburg Museum of Fine Arts as part of the gift from Yevgeny Roizman. Among the donated works, there were about 50 pieces of glass-blowing art. Korovkin worked as a glassblower at the Institute of the Ural Scientific Centre, where he manufactured scientific equipment, but did not have a professional glassblower education. Since the collector did not register attribution data at the time of the acquisition of works, any information on the technology of manufacturing works, as well as a comparative analysis of the series of paintings and glass-blowing works, is relevant. This article presents an attempt of such an analysis providing relevant information on the artist’s background, style and technique.
 Keywords: amateur art, artistic glass, glass-blowing technique, glass staining

Medieval Glassworks in the City of Ferrara (North Eastern Italy): The Case Study of Piazza Municipale

Compositional and structural characterization was carried out on transparent glass fragments found in a brick rubbish pit discovered in basal floor of the ducal palace of Ferrara, during the excavation of Piazza Municipale. This study aims to identify raw materials and glass-working techniques through X-Ray Fluorescence (XRF) quantitative chemical analyses and semi-quantitative Scanning Electron Microscopy (SEM) observations. The studied fragments were produced using siliceous-lime sands with natron as flux, and allowed us to better understand the production technologies in a historical period of great innovation for European glass art. The numerous findings of glass fragments discovered in brick underground cellars built for the specific purpose of household rubbish of wealthy complexes in Ferrara testify a consolidated system of separate discharge of solid waste into underground containers, which were closed and sealed once filled. The high volume of the finds indicates the absence of recycling of accumulated materials due to the well-being of the city. Compositional analysis confirmed the local production of glass shops in Ferrara during the late Middle Ages, characterized by differences with the glasses of the nearby city of Venice. Morphological analyses also defined the nature and relative abundance of the products, exploring the types and compositions of the Ferrara glass art.

Negotiations of Socialist Modernity: The Czech Glass Figurine (From the Late 1940s-1960s)

This article presents the glass figurine as means of understanding making and socialist modernity in Czechoslovakia during the first two decades of Socialism (late 1940s-1960s). Through studying the work of glass artists such as Jaroslav Brychta and Miloslav Klinger, I show how these small, apparently humble figurines offer insight into the status and hierarchies of objects made for decorative and commemorative purposes. They show us the methods through which Czech practitioners actively negotiated socialist modernities. Czech glass figurines have held a somewhat uneasy position in canonical hierarchies, impacted by their associations with souvenirs, export, kitsch and humor. However, state approval endowed them with a certain gravity conditioned by selective historical and material associations. Authorities hoped the figurines would offer a form of ideological interpretation of socialism accessible to their consumers. I present the varying roles allocated to the figurines, which were bound to key ongoing narratives concerning craft and the modern inherited from the pre-Socialist period. The figurines enable understandings of the pluralist nature of craft in Socialist Czechoslovakia, providing a new reading of this under-attended area within international scholarship.

Dance improvisation research: embodied self-esteem and self confidence through glass art

ABSTRACT ‘Dancing Glass: Reflection of Art through Dance’ was a collaborative project using artwork from the glass gallery at the Lowe Art Museum of the University of Miami, as a springboard for artistic inquiry in improvisational dance. Students enrolled in a Dance Improvisation course, guided by professors Carol Kaminsky and Jorge L. Morejón in order to create dance pieces based on the exploration of shape, line, design, and symbolism of glass art. Several works of art were identified for this project which allowed a moving dialogue based on authentic and aesthetic responses. Students’ generated movement, combined with sound, photo, film, and written responses, resulted in themes that emerged from their personal connection to the art. However, the course was just the frame for a bigger research project whose objective was to find out whether glass sculptures influenced creativity in dance improvisation, and how creativity, in turn, affected the students’ self-esteem and self-confidence. The performance, along with their journal entries, the audience surveys and their personality measurement assessments brought the semester to a successful closure as students gained in self-esteem and self-confidence through dance improvisation.

Discipline Planning Of the Modern Glass Art

The main purpose of establishing the glass art discipline in colleges and universities is to further promote the long-term development of the glass art discipline in China, and develop more talents in this field to meet the demand of social development. Nowadays, as the promotion and popularization of glass teaching subjects, the whole level of glass art teaching has also been effectively enhanced, the abundant rich ethnic culture it contains supplies more nutrition and inspiration to the explorers. Based on this, this paper makes analysis on the planning of modern glass art for reference.

The Glass Artists: Clara Driscoll and the Tiffany Girls

The Glass Artists: Clara Driscoll and the Tiffany Girls

Cover Note

Cover Note Emily Lyons (bio) Northern Irish artist Alison Lowry, who provides this issue's cover images, holds a first-class honors degree in art and design from the University of Ulster and is the recipient of numerous awards for her work, including a first place in glass art at the Royal Dublin Show in 2009 and again in 2015. Lowry's current exhibition (A)Dressing Our Hidden Truths at the National Museum of Ireland at Collins's Barracks in Dublin conveys her artistic response to Ireland's history of abuse in mother-and-baby homes, Magdalen laundries, industrial and reformatory schools, and related institutions (see the exhibition website at https://www.museum.ie/Decorative-Arts-History/Exhibitions/Current-Exhibitions/(A)dressing-our-Hidden-Truths). The artist attended the November 2018 Towards Transitional Justice Conference at Boston College, from which the articles in this collection originate, and her artistic interventions underscore a commitment to addressing grievous harms, violence against women and their children, truthtelling, and accountability. Her work allows us an intimate encounter by which we can begin to more fully engage with the traumas inflicted and the voices of those who somehow survived. Front Cover Click for larger view View full resolution Cover Image. Matthew 21:13 The cover image, entitled Matthew 21:13, references the biblical chapter and verse ("It is written that my house shall be called a house of prayer, but you have made it a robbers' den.") and focuses on the Magdalen laundries. The installation comprises 10,000 paper dolls representing the number of women estimated by the state's interdepartmental committee report to have entered the laundries since Irish independence in 1922. The paper dolls are fashioned from the old £5 punt currency that featured Sister Catherine McAuley, the founder of the Religious Sisters of Mercy in 1831. The Sisters of Mercy ran two of the ten laundries: one in Galway and another in Dun Laoghaire. This work illustrates how women's bodies were exploited through their forced labor; the McAuley paper dolls symbolize the historical nexus of power relations between church and [End Page 7] state and, in this particular case, intimate the state's complicity in the operation of the laundries. The dolls spill out of a church-offertory bag, emphasizing how the Magdalen women were forced into unpaid compulsory labor for religious orders that were profiting from their work as well as from the public's charity. Lowry's artistic presentation peels back the layers of exploitation surrounding the Magdalen laundries just as this journal issue attempts to do through an array of disciplinary approaches to this aspect of the nation's history and its ongoing legacies. Back Cover Click for larger view View full resolution Back Cover Image. Isaiah 3:24 The back cover image, entitled Isaiah 3:24, also references the biblical chapter and verse ("Instead of the fragrance there will be stench; instead of a sash, a rope; instead of well-dressed hair, baldness; instead of fine clothing, sackcloth; instead of beauty, branding.") The image features Lowry's glasswork and represents the practice of punishing Magdalen women, deemed "noncompliant" and subversive of the religious rule, by shaving their heads. Cutting off their hair humiliated the Magdalen women by further diminishing their femininity and marking their bodies as having submitted to an intimate enforced punishment. The five opaque, glass scissors that hang over women's cut hair represent the instruments of violence. The opaque glass also alludes to how the state and religious orders continue to resist transparency and truth-telling about the nation's history of institutional abuse. The rosary beads from which the scissors hang juxtapose the religious discourse that dominated the women's daily lives with the sharp objects used to violate their bodily integrity and human rights. Religious conviction in this instance serves as the rationalization for the violence endured by women in the Magdalen laundries. Lowry's art strives to counteract the official opacity surrounding issues of justice for those who suffered violence in Ireland's institutions and to explore new avenues of truth-telling about the nation's past and present. Permission for the use of these...

МИСТЕЦТВО ВІТРАЖА ЗБЛИЖУЄ УКРАЇНСЬКУ І ПОЛЬСЬКУ КУЛЬТУРИ (ВІТРАЖІ АДАМА ДОБЖАНСЬКОГО)

The article highlights the unique work of a prominent Polish master of monumental art, the author of numerous stained glass windows, murals and mosaics of the temples of Poland by Adam Stalony-Dobrzanski (1904-1985), whose father Felix Dobrzanski is a Pole, and mother Anna Kovalenko, a native of Chernihiv, Ukrainian. Dobrzanski spent his youth in Ukraine, and in 1923 he moved with his parents to the restored Polish state; He graduated from the Cracow Academy of Arts and began working in the field of artistic design of Catholic churches, Greek Catholic and Orthodox temples. Feature of Dobzhansky’s creative style is a harmonious combination of ancient medieval Gothic style with the latest styles of Impressionism, Modernism and others; as well as the introduction of inscriptions with the original letter form as an integral part of the stained glass image system. Another noticeable feature of the stained glass windows of Adam Steglovy Dobzhan is the harmony of large and small forms. Of course, he is born, as they say, a monumentalist in the arts. There is greatness in his works. The elongated window openings of the Orthodox, Greek Catholic churches and Roman Catholic churches required verticality. Therefore, this architecture is completely approached by long Gothic stained glass figures. But Dobzhansky would not be Dobzhansky if his age were confined to the composition of tall, sometimes tall, figures. In every large and tall form, he “streams” with many small glasses, in which he writes texts in Latin or Cyrillic letters. This flamboyant scattering of small shapes moves and shimmers like a kaleidoscope, enlivening the statics of the stained glass central figure. Here Dobzhansky presents his knowledge of stained glass. Middle Ages in the Catholic countries of the West, which still amaze the beauty of their kaleidoscopic overflows. There is, of course, a contrast between the large in size and these tiny multicolored glasses. This contrast sends the viewer to the baroque, which maximized the contrast in the riot of flexible forms. These forms do not exist in Mr. Adam’s stained-glass windows, but his contrasts reflect the breadth of the search, a master who crafted his unique language in the field of ancient and modern art styles in the ancient and eternally young stained glass art.

Challenges and prospects for the world studio glass development: based on the results of the International Scientific and Practical Conference-presentation “World Studio Glass. Tradition and Experiment”

The international studio glass movement, which emerged in the 1960s and became an important phenomenon in the recent history of decorative arts, today faces new challenges of today. The movement of studio glass has led to the emergence of a new concept in contemporary art - fine glass, which in recent decades has formed new artistic values. Despite the global nature of the spread of the studio movement, the common vector of the development of art glass in the direction of liberation from industrial dependence poses new requirements and challenges to glass artists, designers, national schools. The desire for imagery and ideology prevails in modern glass. National schools have a clear identity and are distinguished by their own individuality. The International Scientific and Practical Conference-presentation of the creativity of world-famous glass artists “World Studio Glass. Tradition and Experiment” was held within the frames of the XI International Blown Glass Symposium in Lviv. Every three years the artists meet in Lviv, demonstrate their skills on the workshop basis of the only Glass Art Department in Ukraine and tell the public about their experience. Creative meetings took place in the Gallery of Lviv National Academy of Art during the period from October 7 to October 10, 2019. The project was implemented with the support of the Ukrainian Cultural Fund. In the reports, delivered during four days of the Conference, the current issues of the contemporary glass art development and professional education, the formation of creative workshops and artistic groups, the roles of festivals, symposiums in the glass art development, the use of new techniques and technologies in postindustrial eraб, were discussed. Generally, the speakers analysed a wide range of problems and phenomena of the studio glass, shared their own observations and considerable researches of individual technological processes. The participants in the Conference touched in their reports on the important issues of culture dialogue, the development of contemporary studio movement, the impact of the latest technologies on traditional methods of processing. Much attention was paid to the discussion of the main tendencies of glass art development. The speakers concentrated on acute challenges of modernity, which glass artists are faced with, and which are, at the same time, universal for all representatives of contemporary decorative art. The range of works is very wide: from small handicrafts to landscape glass, sculptures, performance, installations and so on. The contemporary glass is utilitarian, duplicated works and original author’s projects. This is a constant balancing between the tradition and new experiments, between the genres and kinds of art.

Glass Art Department at Lviv National Academy of Arts: unique centre of contemporary glassmaking

The preconditions for the emergence of professional art education in the field of art glass in Lviv and Galicia are considered. The history of artistic glass and its influence on the development of the modern center in Lviv on the basis of the Lviv National Academy of Arts is analyzed. The history of the Department began in 1961 with an experiment, when at Lviv State Institute of Applied and Decorative Art (today Lviv National Academy of Arts) a small department of plastic and glass art was opened. Full formation of the unit took place in 1963–1964 and corresponded to the needs of provision with the specialists of experimental workshop of glass art of Lviv Experimental Ceramic and Sculpture Factory of those times. The curriculum of basic art disciplines is formed in accordance with the specificity of the material – glass art and is focused on consideration of the importance of imaginative or constructive thinking, according to selected specialized direction. For decades, the staff of the Glass Department keep contact with glass artists in the whole world, participates in organization of international symposiums and exhibitions, meetings with students, lectures, workshops with the participation of the most famous artists in the world. Since 1989, the teachers and staff of the Department have been actively participating in the organization of International Symposiums of Blown Glass that are the most long-lasting continuous forums of glass artists in the world nowadays. On the base of the Department, mini-symposiums for students took place, and in 2013 and 2016, a scientific and creative workshop (glass-melting furnace) became the main base for the work of famous glass artists from different countries of the world. Every three years the students have an opportunity to observe the work of the most world well-known glass artists from various countries, participate in workshops and lectures. The purpose of the article is to analyze the activities of the Department of Art Glass of the Lviv National Academy of Arts in the modern studio movement.