Art Glass Research Articles

The Comparative Study of Art of Manufacturing Orosi and Stained Glass Windows in Iran and Europe

For a long time, glass manufacturing art has been globally common. There are certain similarities between Stained Glass and Orosi works. Based on historical texts, peak of Orosi art in Iran occurred during the reign of Safavid dynasty while its fall was after Qajar era. After introduction to churches after 12 th century, Stained Glass manufacturing art was officially recognized. In contemporary era, Orosi art has almost faded away since it did not adapt to architecture. Similarly, Stained Glass art did not develop after it was introduced to Iran. The objectives of comparison between these arts are clarification of effects of the two arts on each other as well as better understanding of Orosi glass and Stained Glass arts. From methodological viewpoint, this study is descriptive-analytical in nature. In order to obtain better results, similar and available works of Orosi and Stained Glass arts were studied. The results of comparing these two arts suggested similar manufacturing methods and designs. In addition, a common application of the two arts is communication of greatness of the building to visitors’ minds. Stained Glass was mostly used for representation of Christ’s story while Orosi art was commonly used for depicting geometrical patterns. As a result, Orosi art was not initially influenced by Stained Glass art. In some cases, one could claim that Stained Glass art was influenced by Orosi art. Numerous factors played a role in creating differences between these two arts among which one could point to climatic conditions and patrons of such arts.

Art of glass

Gather together a range of translucent materials and scraps for children to create their very own stained glass windows. Explore their colour, light and design potential as part of a festive celebration.

Heat stress assessment in artistic glass units.

Heat stress in glass industry is mainly studied in large and highly mechanized manufacturing Units. To the contrary, few studies were carried out in small factories specialized in hand-made products. To stress the need of combined objective and medical surveys in these environments, this paper deals with a simultaneous climatic and physiological investigation of working conditions in artistic crystal glass factories in Tuscany (Italy). The microclimatic monitoring, through a continuous survey has been carried out in early spring. The main physiological parameters (metabolic rate, heart rate, tympanic temperature and water loss) were measured over the whole shifts. The results show that, despite the arduousness of the working conditions, the heat stress levels are physiologically tolerable. The predictions made using the PHS model at the Analysis level described in ISO 15265 agree closely to the observed values, validating the use of PHS model in these conditions. This model was then used to analyse what is likely to be the situation during the summer. It is concluded that the heat constraint will be very high and that some steps must be taken from the spring to monitor closely the exposed workers in the summer and take measures to prevent any heat accident.

Venice artistic glass: Linking art, chemistry and environment – A comprehensive emergy analysis

The sustainability of the renowned artistic glass sector of Murano island, in the Venice Lagoon (Italy), has been challenged in recent years by the evolution of several socio-economic dynamics as well as by environmental constraints. Actually, a renewal of the systemic structure of the artistic glass production is increasingly compelling. In this work, the Emergy Accounting method (EMA) is applied to evaluate the environmental sustainability of a Murano factory producing colored glass. The analysis, for which new Unit Emergy Values (UEVs) were calculated for some chemicals, shows that the activity relies mainly upon purchased resources, which is the most evident element of systemic weakness. An evaluation of the downstream ecosystem services required to dilute some heavy metal pollutants is also presented, again addressing the intrinsic fragility of the system. In particular, it is shown how the sustainability of the sector is indissolubly linked to the problems involved in the management of the entire Venice lagoon, underlining how the safeguard of Murano must be part of that of Venice and its lagoon. The UEV of semifinished artistic glasses results 2.31E+10 sej/g (with labor and services), and 1.87E+10 sej/g (without labor and services).

SICAK CAM ÜFLEME TEKNİĞİNDE ODUN KÜLÜ KULLANIMININ ESTETİK İFADE OLANAKLARININ ARAŞTIRILMASI

Glass has passed some important phases throughout history. The development process that began with the discovery of glass in about 3500 years ago has enabled glass to spread to wider masses with the discovery of hot glass blowing. Later, the use of glassware became widespread with the development of crystal glass and the beginning of low cost glass production. The most important turning point is the movement of the studio glass, which was about 100 years ago. Glass is a material used for decorative purposes from ancient civilizations to day-to-day. Nature has spontaneously produced glassware and the natural glass called obsidian has been used in the construction of various tools since ancient times. With the development of technology, the production of glass industry has started and at the same time, with the development of studio glassware, hot glass forming has made itself a technique in glass arts. In this study, the effect of wood ash on hot glass formation was investigated in order to investigate surface effects in hot glass technique. According to the results obtained, it has been shown that wood ash, which has many advantages such as having very fine particles, high avaliability and high reactivity, can be used in hot glass technique as a eco-friendly decoration material.

‘Living, changing light’: stained glass art and gendered creativity in the suburban church

The creativity of religious art and practice is largely ignored in discussions of urban creativity. In this paper the importance of religious creativity in the making of suburban space is explored through a focus on the role of artists in two Christian churches in West London. Drawing on an analysis of two female stained glass artists, working in different time periods and religious contexts, this paper suggests the significance of churches as sites of creative innovation in suburban landscapes. The paper traces the negotiations and collaborations of the artists in relation to gendered expectations and institutional hierarchies and also considers the role of stained glass as a distinctive artistic medium in the creation of spiritually significant worship space for suburban congregations.

Benefits of a STEAM Collaboration in Newark, New Jersey: Volcano Simulation Through a Glass-Making Experience

ABSTRACTA simulated physical model of volcanic processes using a glass art studio greatly enhanced enthusiasm and learning among urban, middle- to high-school aged, largely underrepresented minority students in Newark, New Jersey. The collaboration of a geoscience department with a glass art studio to create a science, technology, engineering, arts, and mathematics (STEAM) educational experience increased strong interest in learning about volcanoes by 40.7% and learning of volcanic concepts by up to 92% across four major topic areas. In particular, using hands-on, interactive experiences, activities effectively informed and enthused students about the heat of a volcano and lava, lava flows and the dangers they pose, forms of falling volcanic bombs, volatiles in lava, and interaction of lava with water. Teachers found that students remained highly motivated by the experience even after their return to school. The Glass Volcano Experience has the potential to constitute a critical incident in encouraging students to pursue geoscience as an interest and/or profession. Such innovative collaborations of unlikely partners has the potential of creating new and innovative learning experiences for urban students who might not otherwise have the opportunity to witness geologic phenomena in situ.

Medicine: Discovery through doing

Roger Kneebone explores how lacemakers, glass artists and percussionists are sharing skills with researchers.

Development stages and types of glass art from past to present

Ponte Academic JournalApr 2017, Volume 73, Issue 4 DEVELOPMENT STAGES AND TYPES OF GLASS ART FROM PAST TO PRESENTAuthor(s): Murat Allahverdiyev ,Yucehan YucesoyJ. Ponte - Apr 2017 - Volume 73 - Issue 4 doi: 10.21506/j.ponte.2017.4.53 Abstract:The history of glass dates back to old times and it has an important place in art. People learned to produce glass at the beginning of civilization and therefore it plays an important role in the human society and in development of the history of culture. Through the whole history of humanity, the glass was used in many fields of life. The usability of glass in artistic works, architecture and aesthetic industry arises from it’s decorative characteristics. Accordingly, the glass is primarily used in the formation of daily products and aesthetic art works. The present study aims to provide a systematic review on the aspects and components of glass art and the development stages of glass art from past to present. Document analysis method was used in the study in order to achieve the aims of the study. Development of glass from different cultures and societies was also mentioned. Formation, development stages and types of glass from past to present were discussed in detail. The results of the study were discussed based on relevant literature and recommendations for further research and practices were also provided. Keywords: art, glass, glass art, aesthetic, development stages. Download full text:Check if you have access through your login credentials or your institution Username Password

Glass art objects – between fine and applied art

The article describes the interrelationships that emerged between art, crafts, technology and design, in the period from the second half of the 19th century to the present day. Attention is paid to the classification of a work and the delineation of the category ‘Object’.

Comparative occupational risk assessment to support the substitution of Substances of Very High Concern: Alternatives assessment for diarsenic trioxide in Murano artistic glass production

In the framework of REACH Regulation (1907/2006/EC), the assessment of health and environmental risks posed by chemical substitutes of Substances of Very High Concern requires transparent approaches, suitable to provide all stakeholders with the information needed to select safer chemicals and minimize the potential for unintended consequences. A comparative assessment for diarsenic trioxide (As2O3) and proposed chemical alternatives (cerium dioxide CeO2 and blast furnace slag) in Murano artistic glass production was performed. The assessment followed a structured, stepwise framework including a detailed analysis of production processes, development of occupational exposure scenarios and comparative assessment of occupational health risks. Several occupational exposure models were compared and the most suitable ones (MEASE, TRAw and ART models) were applied to the selected scenarios. The study concluded that, from the perspective of occupational health risks, the use of CeO2 together with blast furnace slag represents a safer alternative to As2O3 and, given the correct implementation of Personal Protection Measures, health risks will be controlled for all production phases. The study demonstrated that, due to similar physico-chemical properties of the considered substances, toxicological factors constitutes the main driver of occupational risks, and at the same time allowed to identify critical issues in the comparative assessment procedure. The proposed approach can guide the evaluation of risks of chemical alternatives with the aim of supporting the decision-making process in the transition towards safer productions.

الاستفادة من جماليات الفن الإسلامي في أعمال عمر النجدي لتصميم المنتجات الزجاجية ذات الطبيعة الفنية = Advantage of Aesthetics of the Islamic Art in the Work of Omar El-Nagdi for the Design of Artistic Glass Products

الفن الإسلامي من أثرى الفنون التي عرفها الإنسان على مر العصور، فقد تجلت قدرة الفن الإسلامي في إضفاء طابع مميز بتوجه فکري مختلف منذ البداية ،وهو ما خلف رصيدا هائلا من التراث في أماکن عديدة و أزمنة مختلفة ،وتجلى تأثيره في الفن التشکيلي المصري المعاصر خاصة في أعمال الفنان المصري صاحب الفکر الفني المميز ،والذي يعد کأحد أهم الفنانين المصريين العالميين ، حيث اتجه إلى الاستفادة من جماليات الفن الإسلامي في صياغة الموضوعات الفنية المختلفة من خلال إبداعاته الفنية المتفردة وبرؤيته الفنية الذاتية . ومن هنا تحددت مشکلة البحث في: الحاجة إلى الکشف عن تأثير جماليات الفن الإسلامي في قکر وفلسفة الفنان عمر النجدي للاستفادة منها فى إثراء تصميم المنتجات الزجاجية ذات الطبيعة الفنية. ومن ثم يهدف البحث إلى : تحديد أهم جماليات الفن الإسلامي في أعمال الفنان عمر النجدي. الاستفادة من البنائية التشکيلية في أعمال الفنان لتصميم منتجات زجاجية معاصرة ذات طبيعة فنية في إطار التأکيد على الهوية الإسلامية والالتحام بالتراث من حيث الجانب الفکري والتصميمي. وتظهر أهمية البحث في : رصد التطور الفکري في أعمال الفنان عمر النجدي وإظهار تأثر الرؤى الفنية للفن التشکيلي المصري المعاصر بجماليات الفن الإسلامي. ويتحدد البحث في : دراسة نماذج من أعمال الفنان عمر النجدي على المستوى المحلي والعالمي ذات الطابع الإسلامي ، تفعيل هذه النماذج في تصميم المنتجات الزجاجية المعاصرة ذات الطبيعة الفنية . ويفترض البحث : إنه بدراسة تأثير جماليات الفن الإسلامي على التجربة الذاتية للفنان عمر النجدي وخاصة دراسة جماليات الحرف العربي يمکن استنباط حلول ابتکارية لإثراء المنتجات الزجاجية ذات الطبيعة الفنية.

The risk of overestimating the risk-metal leaching to groundwater near contaminated glass waste deposits and exposure via drinking water

This study investigates metal contamination patterns and exposure to Sb, As, Ba, Cd and Pb via intake of drinking water in a region in southeastern Sweden where the production of artistic glass has resulted in a large number of contaminated sites. Despite high total concentrations of metals in soil and groundwater at the glassworks sites properties, all drinking water samples from households with private wells, located at a 30–640m distance from a glassworks site, were below drinking water criteria from the WHO for Sb, As, Ba and Cd. A few drinking water samples showed concentrations of Pb above the WHO guideline, but As was the only element found in concentrations that could result in human exposure near toxicological reference values. An efficient retention of metals in the natural soil close to the source areas, which results in a moderate impact on local drinking water, is implied. Firstly, by the lack of significant difference in metal concentrations when comparing households located upstream and downstream of the main waste deposits, and secondly, by the lack of correlation between the metal concentration in drinking water and distance to the nearest glassworks site. However, elevated Pb and Cd concentrations in drinking water around glassworks sites when compared to regional groundwater indicate that diffuse contamination of the soils found outside the glassworks properties, and not only the glass waste landfills, may have a significant impact on groundwater quality. We further demonstrate that different mobilization patterns apply to different metals. Regarding the need to use reliable data to assess drinking water contamination and human exposure, we finally show that the conservative modelling approaches that are frequently used in routine risk assessments may result in exposure estimates many times higher than those based on measured concentrations in the drinking water that is actually being used for consumption.

Modeling of the Processes in a Resistive Glass Melting Furnace in Heat Treatment of Glassware with Complex Form

The paper deals with modeling of steady state and transient thermal processes in a small resistance electric furnace for melting and heat treatment of high quality glass products. The device is designed to obtain molten glass, which can meet the multiple requirements for handling glass and is used for producing of artistic glass sculptures. The temperature field distribution has been studied by 3D FEM modeling of heating and cooling processes under variable conditions specified, depending on the supply power, technological limitations and users’ requirements. Experimental studies have been also carried out in order to verify numerical modeling. The obtained results are reliable basis for optimal control, high efficiency and ensuring of required glass quality.

Light Green With Yellow Top by Henry S. Hillman, Jr

Mayo Clin Proc. n March 2016;91(3):e www.mayoclinicproceedings.org n a H enry S. Hillman, Jr, was born in Pittsburgh, Pennsylvania, in 1951, and later moved to the Pacific Northwest. He studied with other noted glass artists such as Dale Chihuly (founder of the Pilchuck Glass School in Stanwood, Washington) in the 1970s and 1980s. He was first employed in glass production in 1982, when he worked for the Bullseye Glass Company, a firm specializing in architectural glass located in Portland, Oregon. In 1990, Hillman attended the Pacific Northwest College of Art, and in 1993, he opened his own studio called Fourth Dimension Studio, located in Portland. One of the main provocations generated from abstract art is that it always begs the questions: “What is it?” or “What does it mean?” Because of its nature, glass provides a unique perspective to abstract art. Solidity, opacity, fluidity, refraction, and reflection

English

English

‘Many Lamps Same Light’: The Stained Glass Paintings of Nigeria’s Prime Artists, Y.C.A. Grillo and D. H. Dale

Many lamps same Light’ investigates the place of agency in the transmutation of indigenous imageries in the art works of the pictorial turn. Through an investigation that entailed an empirical analysis of the works of two Nigerian prime stained glass artists, Yusuf Grillo and David Dale, this study established that in spite of their diversity in picture making tooling mechanisms, both artists met the purposes of the “new thinking” paradigm shift in the post Vatican II evangelisation regime. In a hermeneutic discourse, however, the study investigates Grillo’s exclusive use of indigenous thought systems’ imbued lexiconology as visual tooling mechanisms to affect imagery for the episteme of ecclesia in Africa. In effect that novel art form did not only affect the enlargement of the series in images of this, otherwise, European art form but also a change in imagery in the entire constellation of Church art. In fact, through art as agency utilsing the iconographical imageries from Nigeria as ciphers of the pictorial turn, distinguishing the paradigm shift in Christianity, it was possible to tell the Christos story with Christ as the magnate holding the ecclesiologies together.Keywords: stained glass, pictorial turn, evangelisation, iconographical imagery, tooling mechanism, agency, light, lamp

Contemporary Plastic Visions of Glass Formation Arts to Enrich the Aesthetic and Creative Side upon the Students of Art Education at the University of Umm Al Qura- Saudi Arabia

Through history the way of blowing in the glass had a special position in the production of bottles and vases of decorations, this method, which relies on air mobilization inside the vials and templates after heated and melted at high degrees of heat as the blowing process in a block of dough glass produces different forms of glass products such as jugs, vases, candy boxes, decoration boxes, flasks, and the artist identifies the form and the final size of the piece to be configured, and choose the decoration and etching type on the surface, and needs high technical skills such as assiduity in front of furnaces operating at high degrees of heat, and continuous training to master this industry, as well as providing creative and artistic ability to acquire more skill and then convoying time to keep up with innovation, development and production of various models from time to time. This research provides a modern entrances in teaching stained glass course at the Faculty of Education - Umm Al Qura University with plastic contemporary visions, so the educational and service institutions can benefit from the development of the artwork, in an effort to reach the highest degree of excellence in performance, and through the production of innovative art works in glass art, in order to identify the theoretical concepts related to the work of colored and stained glass to study the techniques and technical, aesthetic and utilitarian characteristics of glass and their applications.

IGS V, Series 1994-98 #4 by Marvin B. Lipofsky

In recognition of the important part that art has had in the Mayo Clinic environment since the original Mayo Building was finished in 1914, Mayo Clinic Proceedings will feature some of the numerous works of art displayed throughout the buildings and grounds on the Mayo Clinic campuses. In recognition of the important part that art has had in the Mayo Clinic environment since the original Mayo Building was finished in 1914, Mayo Clinic Proceedings will feature some of the numerous works of art displayed throughout the buildings and grounds on the Mayo Clinic campuses. Marvin B. Lipofsky was born in Barrington, Illinois, on September 1, 1938. He obtained a BFA from the University of Illinois in Urbana in 1962, studying industrial design, and an MFA from the University of Wisconsin in Madison in 1964, in sculpture. He was a student, and later a great proponent, of the studio glass movement, which he was noted to have introduced to the design school at the University of California in Berkley, where he was an instructor. He also founded his own art society called GAS, or Glass Art Society. In the 1950s he traveled to Czechoslovakia to learn from their glass studio movement.1Marvin Lipofsky. Wikipedia website. http://en.wikipedia.org/wiki/Marvin_Lipofsky. Accessed May 12, 2014.Google Scholar His first introduction to glass, however, was made when studying under Harvey Littleton in Wisconsin.2Corning Museum of Glass Meet the Artist: Marvin Lipofsky. http://www.cmog.org/transcript/meet-artist-marvin-lipofsky. Accessed May 12, 2014.Google Scholar Lipofsky notes that it was somewhat serendipity that led to his adherence to glass as a medium,2Corning Museum of Glass Meet the Artist: Marvin Lipofsky. http://www.cmog.org/transcript/meet-artist-marvin-lipofsky. Accessed May 12, 2014.Google Scholar and in hindsight, his educational progression was in reality much better than if it had been planned. Because he was unable to study sculpture, he majored in design in his undergraduate studies. He was later introduced to clay, which interested him greatly and was also the door to his study of glass.2Corning Museum of Glass Meet the Artist: Marvin Lipofsky. http://www.cmog.org/transcript/meet-artist-marvin-lipofsky. Accessed May 12, 2014.Google Scholar It seems that without the basis of design and the education of clay, he would not have achieved the insights and foundation to discover the savanna of the world of glass.3Marvin Lipofsky, Glass Pioneer, Making sculpture. https://www.youtube.com/watch?v=fJIR8q8vTec. Accessed May 12, 2014.Google Scholar IGS V, Series 1994-98 #4, a 9 X 20 X 14-inch blown glass vessel, is reminiscent of many things in nature and life. The colors capture the nacre of exotic marine bivalves, iridescent bubbles blown for a child’s entertainment, billowing cumulonimbus clouds, irises opening to the morning sun, or they even remotely mirror fine china on a Sunday dinner table, albeit with an unusual shape. Lipofsky clearly allows the nature of blowing to direct the organic form and structure of IGS V, Series 1994-98 #4, with minimal intervention into the final outcome from the blowing process. This lends reality to the abstract and reflects the foundation of his education. IGS V, Series 1994-98 #4 is located on the 5th floor of the Gonda Building in Rochester, Minnesota.

A Mosaic of Creativity in Occupational Therapy

Martha Branson-Banks, OT, provided the cover art for the summer 2014 issue of the Open Journal of Occupational Therapy. The piece is titled “Garden with thanks to Klimt” and is one of several mosaic art pieces in her collection of works. She created the piece with art glass and resin on an abandoned door. Her use of a repurposed door represents her belief in the capacity for transformation and beauty within each individual she has treated and taught throughout her career. Martha’s work as an occupational therapist, educator, and artist reminds us of the foundational beliefs of the occupational therapy profession, including the benefits of engagement in meaningful and creative activities.