Glass Painting Research Articles

Scratching the surface: observations on techniques and characteristics of commercial glass painting of the late 19th century

Scratching the surface: observations on techniques and characteristics of commercial glass painting of the late 19th century

Islam and Philosophy: The Question of Figuration in Islam and Senegalese Reverse Glass Painting

Reverse glass painting arrived in Senegal in the early twentieth century, essentially as a religious art form, which helped to disseminate Islam in Senegal. Glass painting also became a useful visual vehicle in the national struggle against French colonial domination. Initially, it was practiced by amateur painters for an urban clientele. Due to high demand, amateur painters became professional practitioners of reverse glass painting. A third generation of artists, trained at the school of fine art in Dakar, incorporated the practice of reverse glass painting into other modern artistic techniques and approaches. Today the imagery of reverse glass painting is no longer exclusively religious and covers a wide range of themes. It has become one of the most popular forms of artistic expression in Senegal, which is highly appreciated by both the Senegalese as well as foreigners. It merits scholarly interest and analysis.

A new model of painting glass

A new model of painting glass

Capabilities and limitations of handheld Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for the analysis of colourants and binders in 20th-century reverse paintings on glass

A non-invasive method has been carried out to show the capabilities and limitations of Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for identifying of colourants and binders in modern reverse glass paintings. For this purpose, the reverse glass paintings “Zwei Frauen am Tisch” (1920–22), “Bäume” (1946) (both by Heinrich Campendonk), “Lofoten” (1933) (Edith Campendonk-van Leckwyck) and “Ohne Titel” (1954) (Marianne Uhlenhuth), were measured. In contrast to other techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession. In multi-layered paint systems, the front paint layer may no longer be accessible. The work points out the different spectral appearance of a given substance (gypsum, basic lead white) in reverse glass paintings. However, inverted bands, band overlapping and derivative-shaped spectral features can be interpreted by comparing the spectra from the paintings with spectra from pure powders and pigment/linseed oil mock-ups. Moreover, the work focuses on this method's capabilities in identifying synthetic organic pigments (SOP). Reference spectra of three common SOP (PG7, PY1, PR83) were obtained from powders and historical colour charts. We identified PR83 and PY1 in two reverse glass paintings, using the measured reference spectra. The recorded DRIFTS spectra of pure linseed oil, gum Arabic, mastic, polyvinyl acetate resin and bees wax can be used to classify the binding media of the measured paintings.

Coloration and structure behavior after silver and copper nanoparticles formation in soda lime glass

AbstractIn this work, an ion exchange non‐conventional process commonly called ancient painting process without using molten salts is used as a method for glass coloring. In this process of coloration, a mixture of metallic particles with kaolin and arabic adhesive is applied on the soda lime glass surface. Afterwards, the painted glass is submitted to the heat treatment to obtain the color. A comparative study is carried out in order to investigate the diffusion of metallic nanoparticles (silver and copper) in soda lime glasses depending on several parameters as the concentration and composition of stain spread on glass, and the heat treatment temperature. Characterization of the composition and structure of the painted glasses is performed by UV‐visible spectroscopy. In addition, nanoindentation and scanning electron microscopy (SEM) with energy dispersive X‐ray analysis (EDS) techniques are used to determine the penetration of metallic nanoparticles into glass. The obtained result shows that the coloration of painted glass differs and depends on the concentration and the kind of the mixture of the paw. Moreover, it was found that the effect of the heat treatment temperature is primordial on the formation and diffusion of metallic nanoparticles.

UKM "SOLAKIS HARJO" "SOUVENIR GELAS LUKIS KHAS SIDOARJO" (Glasspainting)

In the plan of the implementation of community service activities entitled "Making Souvenir Products of Typical Painting Sidoarjo" the purpose set is through this activity will create a group of UKM Souvenir Gelas Painting Typical Sidoarjo In Sukodono Village, which will be spearheaded youth of youth from Partners 1 / Karang Taruna Group RT 05 RW 02 Desa Jumput Rejo Sukodono and Partners 2 / Karang Taruna Group RT 02 RW 01 Desa Jumput Rejo Sukodono which will firstly perform an improvement of the quality of human resources in youth group of youth at Partner 1 and Partner 2 so that they have skill production of terrarium souvenir as well as having the ability of management and marketing strategy of the product so that it can become independent entrepreneur candidate and can make the product as one of the local superior product of the kecamatan Taman especially. And the solution offered is by providing increased in Partners 1 and Partner 2 through several methods as follows : Method of socialization activities "approach and the provision of knowledge of the business prospects of production Souvenir Gelas Lukis Khas Sidoarjo, Method of workshop and training of production Souvenir Gelas Lukis Khas Sidoarjo, Method of workshop and management training marketing strategy of Souvenir Gelas Lukis Khas Sidoarjo, Method of controlling and developing UKM product Souvenir Gelas Lukis Khas Sidoarjo, Evaluation and program of quality control of UKM product Souvenir Gelas Lukis Khas Sidoarjo. It is expected that through this production skill training can increase the community's independence through local income to contribute to achieve community self-sufficiency through training and production skills Souvenir Gelas Lukis Khas Sidoarjo products to improve the local economy, especially karang taruna warga Desa Jumput Rejo residents who previously only status as students and students only and can open the opportunity to become a Prospective Entrepreneur reliable.
 Keywords : UKM, Souvenir Gelas Lukis Khas Sidoarjo, Glass Painting

KERAJINAN KACA GRAFIR SEBAGAI SOUVENIR INTERIOR DI SURAKARTA

<p><em>The traditional wealth of art in Indonesia which are several area include Surakarta region is still took care and everlasting. The are like various kinds of form of Industry to nuance/variation ethniqe which is home industry potential is the most important enough to effort in home small industry.</em></p><p><em>Grafir glass is the form of one system in the work of art instrument of glass painting can be done as work of art although industry, and so it is beside other techniques as like glass and lood, glass etsa, paint of glass and so on.</em></p>

Mijo Kovačić and the Hlebine School

This article examines the work of Croatian artist Mijo Kovacic, one of the leading representatives of the Hlebine School. The author examines the works of the artist in the context of naive painting in Croatia: the unity of the plots and characters, the differences and similarities to the paintings by other artists. Kovacic’s creative work is also interesting in terms of a peasant’s perception of the world which is religious, but, at the same time, employing fantasy, and prone to myth-making. The author puts forward her own view on the interpretation of archaic characters in the reverse glass painting referring to examples of symbols in the works of Kovacic which might help understand the concept of the Hlebine School as a whole system in its fundamental relationship with folk roots and folklore, an inextricable link with ancestral memory, Croatian fairy tales, and legends. In Russian there are a limited number of materials devoted to Yugoslav naive art, so the author hopes that this article will help all those interested in naive and primitive art to discover the multifaceted talent of brilliant artist Mijo Kovacic. The article was written with reference to foreign sources — monographs, and articles; an interview with the artist played an important role too as it provides a more comprehensive notion of his ideas.

THE ROLE OF RASTIKA’S GLASS PAINTING AS A UNIQUE ARTWORK IN SUPPORTING TOURISM IN CIREBON

The Cirebon glass painting is a traditional artwork which showed how several cultures such as Chinese, Islam, and Hindu combined as one. Rastika is a glass painting pioneer from Cirebon has shown how the object variation, background development, and calligraphy in his artwork. His glass painting serves the beauty of itself and he has reformed traditional themes in glass paintings. This is an art involving design, style, theme, and the pattern, that always growth, renewal, and friction, so that it produces a new and prim painting technique. A combination of rocks and clouds and that of a dragon, which are quite often found in Cirebon's glass paintings, are also evident in his creations. The color harmony suggests western nuances, which are obviously the outcome of his wide acquaintanceship with fine art academics. Rastika has produced lots of glass painting, producing the classic and modern classic theme and pattern. This research was conducted to introduce Rastika’s glass painting as a unique artwork and to find out the role of it to support the tourism part in Cirebon. Keywords: Rastika’s glass painting, artwork, culture, tourism

Chinese Glass Paintings in Bangkok Monasteries

Abstract Reverse glass paintings, a form of Chinese export art, were extensively traded in the nineteenth century. Several examples are on display in prominent Thai Buddhist monasteries in Bangkok. King Nangklao of Siam, Rama III, encouraged Sino-Siamese trade that brought Chinese objects and images to nineteenth-century Siam. The ideals of accretion and abundance characteristic of Thai Buddhism and the sinophilia of Rama III facilitated the construction of “Chinese-style” Thai temples. Glass paintings with scenes of the Pearl River Delta, Romance of the Three Kingdoms, auspicious objects, and bird-and-flower compositions were installed in temples and inspired new directions in Thai mural painting.

Fidelis Pannonia

The subject of the paper – a reverse glass painting (Hinterglasmalerei) – came to its current owner from a well-known private collection in Budapest. Painted on a 2 mm thick glass plate measuring 300 × 350 mm, silhouettes of figures with subtly painted details on their costumes are shown with scratched metal foil decoration in the background. The date of making around 1790 is clearly determined by the depicted scene in addition to the neo-classical late baroque style of the rendering. The Hungarian style clothing of the figures, their badges and the Hungarian coat of arms on the breast of the Habsburg eagle together with the inscriptions (“Fidelis Pannia”, “Ego Fidelis Natio Hungarica”) provide first-hand clues for interpretation. From among the rulers of the age, the “F II” monogram seen at two places must refer to Francis II, Holy Roman Emperor and king of Bohemia, who ascended the Hungarian throne as Francis I in 1792. The young man standing on the right is to be identified with him on account of the Order of the Golden Fleece and the Hungarian Royal Order of St Stephen worn on his attire. The young man sitting on left must then be the Hungarian palatine Alexander Leopold. The elderly high priest standing behind him also wearing the decorations of the grand cross of the Order of St Stephen is archbishop of Esztergom Count József Batthyány. The young female figure in Hungarian style costume is the queen, Maria Teresa of the Two Sicilies. The picture shows the most important figures of the compromise arrived at during the Diet of 1792 held in the ancient Hungarian capital Buda. In contradistinction to the legacy of the late Joseph II (died 1790) who had imposed reforms, this political settlement promised to restore the ancient constitution of the Hungarian nobility in return for an offer of taxes and recruits needed for the Habsburgs’ French wars. This agreement was particularly well received by the rural Hungarian nobility. The choice of the language for the inscriptions – Latin – also confirms this as a conserving cultural symbol. The person who ordered the picture and first owned it must be sought in this social stratum. The date of making must be connected to the Diet of 1792, for the significance of the compromise was soon overshadowed by the events of the French wars and other domestic political changes, so the subject of the picture had no topical significance in the mid-1790s any more. The glass picture was certainly made in Vienna. This technique was not practiced in Hungary; Vienna was a centre of silhouette painting at that time. Silhouettes already appeared painted on glass, alloyed with other techniques. The pictorial devices of the picture also point towards Vienna, reminding one of the widely disseminated silhouette scenes of Johann Hieronymus Löschenkohl (Elberfeld, 1753 – Vienna, 1807). In this circle one can find a glass painter of Linz, Ignaz Pfeilhauer (Linz, 1765 – Linz, 1843), who also worked in Vienna and several of whose signed pictures are known by research. Outstanding among them are a signed picture dated 1796 showing the chamber orchestra of the Linz civil guard in green uniform and an unidentified family scene at the breakfast table, a reverse glass painting from 1794. After a comparison with further pictures by him, it can be concluded that the Budapest glass painting displays the same peculiarities: in the group scenes set in interiors the somewhat rigidly rendered silhouette figures appear to be floating, and the lines of the floor and the symmetrically placed pieces of furniture refuse to proceed towards a vanishing point, running counter to the rules of perspective. The body and hand postures of the conversing silhouette figures with inner details also drawn in gold and other colours are similar in all paintings concerned. This is complemented with techniques of colorfully painted and scratched metal foil, canvas and paper applications. On the basis of all this the Budapest reverse glass painting may be defined as the earliest known work of Ignaz Pfeilhauer.

X-Ray Fluorescence Analysis: Useful For Forensic Examination

In the field of forensic science, it is very important to investigate of evidential samples obtained at various crime scenes. X-ray fluorescence (XRF) is used widely in forensic science. Its main strength is its non-destructive nature, thus preserving evidence. This paper, deals with the application of XRF to examine the evidences like purity gold and silver jewelry (Indian Ornaments), remnants of glass pieces and paint chips recovered from crime scenes. The experimental measurements on these samples have been made using X-ray fluorescence spectrometer (LAB Center XRF-1800) procured from Shimazdu Scientific Inst., USA. The results are explained in terms of quantitative/ qualitative analysis of trace elements how useful for forensic point of view.

Is Polymethly Methacrylate Stain Friendly when used in Extra-Oral Maxillofacial Prosthesis…?

Background & Objectives: The present study was conducted to find out a stain material that can retain its color in acrylic for a long period, by assessing its chemical interaction with the parent material and to evaluate the color stability of commonly used acrylic resin-stain combinations after exposure to weathering. Method: This experiment was carried out on PMMA-stain combination specimens. The acrylic blocks were divided into two categories. Scrapings from first category were subjected to spectroscopy to determine the interaction of the four PMMA-stain combinations at molecular level. And scrapings from second category were tested with spectrophotometer after being subjected to weathering. The comparison between the graphs obtained was made using absorbance variance. Results: Glass paint, acrylic emulsion, and organic dye produce changes which are evident in the spectrograph. Fabric paint does not produce much change in the spectrograph. Before and after subjecting the acrylic resin-fabric paint combination to natural weathering, suggest that the colorant is most stable. On the contrary organic dye and glass paint are least stable of all the four stains. Conclusion: The addition of colors to PMMA for staining definitely produces changes in the structure of the PMMA at the molecular level. The addition of inorganic group stains produce change but which are insignificant, whereas the addition of organic group stains produce changes at the molecular level which are significant. Inorganic coloring agent (fabric paint) was the most color stable over time whereas the organic colorants (glass paint, acrylic emulsion, organic dye) were the least color stable. Keywords: Chemical interaction, color stability, PMMA-stain combination, weathering

基于偏振特性对石英玻璃和绿漆涂层的反演

基于偏振特性对石英玻璃和绿漆涂层的反演

Integrating photovoltaic cells into decorative architectural glass using traditonal glasspainting techniques and fluorescent dyes

Photovoltaic cells can be integrated into decorative glass, providing a showcase for this renewable technology, whilst assisting in the creation of sustainable architecture through generation of electricity from the building surface. However, traditional, opaque, square, crystalline-silicon solar cells contrast strongly with their surroundings when incorporated into translucent, coloured glazing. Methods of blending photovoltaic cells into their surroundings were developed, using traditional glass painting techniques. A design was created in which opaque paint was applied to the areas of glass around underlying photovoltaic cells. Translucent, platinum paint was used on the glass behind the photovoltaic cells. This covered the grey cell backs whilst reflecting light and movement. The platinum paint was shown to cause a slight increase in power produced by photovoltaic cells placed above it. To add colour, very small amounts of Lumogen F dye (BASF) were incorporated into a silicone encapsulant (Dow Corning, Sylgard 184), which was then used hold photovoltaic cells in place between sheets of painted glass. Lumogen dyes selectively absorb and emit light, giving a good balance between colour addition and electricity production from underlying photovoltaic cells. When making sufficient quantities of dyed encapsulant for a 600 x 450 mm test piece, the brightness of the dye colours faded, and fluorescence decreased, although some colour was retained. Improvement of the method, including testing of alternative encapsulant materials, is required, to ensure that the dyes continue to fluoresce within the encapsulant. In contrast, the methods of adding opacity variation to glass, through use of glass painting, are straightforward to develop for use in a wide variety of photovoltaic installations. Improvement of these methods opens up a wide variety of architectural glass design opportunities with integrated photovoltaics, providing an example of one new medium to make eco-architecture more aesthetically pleasing, whilst generating electricity.

‘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

Dispersion stabilization of antimony-doped tin oxide (ATO) nanoparticles used for energy-efficient glass coating

Nano-antimony-doped tin oxide (ATO) was synthesized using the sol–gel method. A colloidal dispersion of ATO nanoparticles in distilled water was achieved using a milling process in which different dispersants were studied. In this paper, different factors that affect the stability of ATO nanoparticles were discussed, such as zeta potential, dispersant, and pH value. Sodium polyphosphate was a suitable dispersant for stabilizing ATO nanoparticles in distilled water. A stable dispersion of ATO nanoparticles in distilled water was prepared. The stable dispersion of ATO nanoparticles was used to prepare nano-thermal insulation glass paint to block near-infrared rays of sunlight.

Preparation and characterization of transparent fluorocarbon emulsion doped with antimony tin oxide and TiO2 as thermal-insulating and self-cleaning coating

A transparent thermal insulation and self-cleaning coating was prepared from a fluorocarbon emulsion doped with antimony tin oxide (ATO) and anatase TiO2 nanoparticles. The thermal insulation and self-cleaning properties of the coating film were optimized by adjusting the amount of ATO and anatase TiO2 nanoparticles in the fluorocarbon emulsion. The fluorocarbon coating containing 2.0 wt% ATO and 0.1 wt% TiO2 possessed good comprehensive properties of thermal resistance, self-cleaning, weathering resistance, etc. Compared with the blank glass substrate, the mean light transmittance of the coating film only decreased by about 12% in the visible range. The temperature in the chamber covered with the coated glasses decreased 7°C lower than the common glass chamber without coating. The methyl red painted on the coating was completely faded after three days of ultraviolet irradiation, so the coating film exhibited an excellent self-cleaning property. The transparent coating with excellent thermal insulation and good self-cleaning will be developed for a potential building glass paint used for energy saving and environmental protection.

Painting glass as a psychosocial intervention

This personal re£ection describes the experience of a psychosocial refugee outreach volunteer in Syria. Born and raised in Iraq, the author £ed with her family to Syria in an attempt to escape the violence. Trained as an English teacher and educational psychologist in her home country, she volunteered to help other refugees in Syria and describes this as challenging, but very rewarding. Key factors to be able to continue her work are the importance of weekly supervision and being part of a team. Her work includes the facilitation of peer support groups, including groups where participants learn practical skills, such as painting glass objects. As well as providing refugees with some additional income, they also bene¢t from the mutual support they receive.

Studies on paint cross sections of a glass painting by using FT‐IR and Raman microspectroscopy supported by univariate and hierarchical cluster analyses

Fourier transform infrared (FT‐IR) and Raman spectroscopy is used for the non‐destructive analysis of painting materials and ageing compounds in micrometric cross sections of a glass painting. The combination of both techniques in conjunction with imaging/mapping function provides the spatial distribution of chemical components identified in vibrational spectra. The aim of our work is to show the applicability of the FT‐Raman mapping technique in the detection of painting materials. We also compare Raman information gained by using two laser excitations at 532 and 1064 nm implemented in microspectrometers with different confocality and spatial resolution. In turn among FT‐IR imaging techniques, we compare chemical images recorded in external reflection and attenuated total reflection modes that give chemical images of different size and spatial resolution. Our FT‐IR and Raman imaging characterize a number of painting materials such as pigments, binders, fillers as well as degradation products. Raman maps are constructed by using the univariate analysis. In turn, a profile of IR images requires the use of a more complex methodology. Here, we compare FT‐IR images of the painting cross sections obtained by using the univariate and hierarchical cluster analysis. We clearly show that the multivariate approach is a powerful tool for the credible construction of IR images, providing the relevant chemical information on the multicomponent stratigraphy of the samples. Moreover, the combination of all the methods allows us to demonstrate their degree of utility for the study on the paint cross sections of the works of art. Copyright © 2013 John Wiley & Sons, Ltd.