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At the time of the showcase of Victorian enterprise, the Crystal Palace Exhibition ofstained glass manufacture had reached a point where 25 firms were able to display their works, including John Hardman of BirminghamWilliam Wailes of NewcastleBallantine and Allen of EdinburghBetton and Evans of Shrewsbury and William Holland of Warwick. Charles Winston[ edit ] Charles Winston was a 19th-century lawyer whose hobby was the study of Medieval glass.
In he published an influential book on its styles and production, including a translation from Theophilus' On Diverse Arts, the foremost Medieval treatise on painting, stained glass and metalwork, written in the early 12th century.
Winston's interest in the technicalities of coloured glass production led him to take shards of medieval glass to James Powell and Sons of Whitefriars for analyses and reproduction. Winston observed that windows of medieval glass appeared more luminous than those of early 19th-century production, and set his mind to discovering why this was the case. Winston observed that light streaming through a 19th-century window generally made a coloured pattern on the floor.
This was rarely the case with medieval glass. He concluded that the reason that 19th-century glass lacked brilliance was because it was too flat and regular, allowing the light to pass through directly. He recommended a return to the manufacture of hand-made crown and cylinder glass with all their inherent refractive irregularities for the specific purpose of creating stained glass windows. Stylistic developments in 19th-century stained-glass windows[ edit ] The stylistic trends below did not necessarily follow each other consecutively.
Rather, they overlapped and co-existed. Some stained glass studios were essentially a one-man show in which a single craftsmen designed and made windows of a particular style. Other firms were managed with considerable entrepreneurial skills, employing a number of designers.
Some designers freelanced- their work can be seen in windows by a number of firms. Some firms changed with changing tastes and survived well into the 20th century. For Glossary of Terms, see below. Window with hand-painted quarries. Armorial windows[ edit ] These contain precisely painted shields and heraldic decoration utilising painterly skills that had remained in use during the 17th and 18th centuries.
Thomas Willement was an armorial painter of windows. Many of these windows are among the earliest use of coloured glass but comparatively few have survived because later Victorians have replaced them with more elaborate pictorial windows. Some of these windows date from the s. Quarries[ edit ] These windows are usually patterned with fleur de lys and other floral motifs that were suited to the shape of the diamond panes.
They added a pleasant glowing ambience to an interior and in many churches in the early 19th century made up the entire glazing. They could be painted or stencilled with designs and are sometimes mould-cast or have impressed motifs.
They were systematically replaced one by one when more elaborate windows were donated. These windows generally date from to Powell was a major supplier of impressed and stencilled quarries. Medieval foliage and Classical Figures. Medieval foliate windows[ edit ] From studying Medieval windowsparticularly those at Canterbury Cathedralmany stained glass artists became adept at designing foliage and decorative borders that reproduce archaeological originals.
There are windows of this type in which the foliate design is overlaid with banners bearing scriptural texts. In those windows that are set with figurative rondels, the style within them is often Classical see below but sometimes Medievalising and sometimes seeks to reproduce the original style so accurately that to they casual eye they have the appearance of ancient windows. Ancient windows in Canterbury Cathedral were removed in the 19th century and replaced with copies.
There is a very fine Jesse Tree the Ancestors of Christ window of this nature at the eastern end. Two panels of the original have since been returned.
British and Irish stained glass (1811–1918)
Classical figures[ edit ] Although often striving for an exotic appearance, the figures in many early 19th-century windows are classicising in style. Set against a background of geometry, quarries or foliage, the small painted incidents within rondels and quatrefoils are nearly always conservatively academic in their appearance, with figures based on those in engravings of works by admired painters, RaphaelTitianAndrea del Sarto and Perugino.
Often in the case of windows with ornate foliage, the archaeologically correct surrounds are at variance with the style of the rondels which make no attempt to reproduce the medieval. William Wailes and Charles Edmund Clutterbuck were among the important firms. Gothic forms and pure colour. Gothic Revival[ edit ] Inspired by RuskinPugin and the Gothic Revivalsome artists sought to reproduce the style of figures that they saw in ancient glass, illuminated manuscripts and the few remaining English wall paintings of the Gothic period.
The resulting figures are elongated, curvilinear and stylised rather than naturalistic. The drapery folds and scrolls are exaggerated and the gestures are expansive. The painted details are highly linear, crisply defined and elegant. The style lent itself to narrative, to pure colour and to highly decorative effects. The masters of Gothic revival were John Hardman and Co. The Arts and Crafts style lent itself to the depiction of solidly working-class apostles and virtues set against backgrounds of quarries that resemble glazed earthenware tiles.
The botanically accurate and semi-realistic grapevines, sunflowers and other growing things were more prominent than Gothic canopies.
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Narratives that emphasised hard labour, human decency and charitable love were the themes that lent themselves to enthusiastic treatment by Morris and Ford Madox Brown. Human interest and tertiary colours.
National Institute of Design
Naturalism[ edit ] The s was a time of rich ornamentation and eclecticism in the arts. The treatment of Gothic canopies which were a feature of so many windows began to change from the brightly coloured, two-dimensional, playful appearance of the s and 60s to an appearance of having been carved from fine white limestone. Tudor and Renaissance architectural details made an appearance and were often used without reference to the nature of the real architecture that enclosed the window.
The art of painting canopies in this manner was diligently maintained until after World War I. The Gothic style of figure painting began to give way to a more naturalistic style in which the figures seem more three-dimensional and portrait-like. An important source at this time was German wood engravings and etchings. These were available in a number of forms.
Bibles and Bible picture books were available with several different series of such engravings. One of the advantages of using engravings as a source was that the essentially linear techniques that were employed by the engraver to define forms could be easily interpreted in lead and the fine linear treatment of shadows was likewise easy for the stained glass artist to achieve using the monochrome paint technique.
There were also windows imported into England at this time from the studios of Mayer of Munich which influenced English designers towards this style. In the late 19th century there is often a great richness in the colouration of the windows, marked by a use of tertiary colours including rich purple, salmon pink, olive green, claret red, saffron and brown. Flashed glass was skillfully employed to enhance deep folds in robes. With this interest in colour, many windows depict atmospheric effects.
Sunsets, glowering storm clouds and blazing glories appear behind the figures. In line with the naturalistic drafting of the figures, there is a pictorial emphasis on depicting human interaction and response, often with detailed facial expressions and rather flamboyant gestures. Large scenes with large figures were popular. These trends continued, taking two basic directions until World War I. He spent most of his life in India, moving between homes in Naggar in the Himalayas and the outskirts of Bangalore.
The work displayed in this gallery range from portraits to depictions of the picturesque Kulu valley. There are also several works with biblical themes. His paintings explore the mythic origins, the natural beauty, and the spiritual strivings of humanity of nature. Several of her portraits are included in the display. Gallery one and two of the Kejriwal collection hold an extensive number of works dating from s to the s.
The folk paintings, Kalighat drawings, Santhal Pat scrolls and Patta Chitra rolls are housed in gallery one along with a collection of caricatures by Gagendranath Tagore and also several graphic prints, aquatints and lithographs, including those by the Daniels.
Raza and Jamini Roy can be seen in this gallery that holds work that is distinctive of the Nationalist art movement in Bengal and the building of an Indian modernist expression. The Avant Garde of Indian modern art, both painting and sculpture, are the highlight of gallery two in the Kejriwal collection. In the third gallery displaying the Kejriwal collection, there is a grouping of paintings called the Pan Indian Panorama; this collection consists of work by the progressive artists group as well as the generations to follow through until the 90s.
The works of S. Iranna, Laxma Goud and others are part of the display including artists who belonged to different artistic schools and geographic regions in India. In a sculpture gallery was also added to the Parishath complex. Most of these artists were part of a movement initiated to indigenize the sculptural movement after the deep impact of the colonial period. In the beginning of the 20th century all conventional definitions of art were being systematically challenged, and in India, modern sculptors were grappling with problems of form and content, idiom and expression.
The sculptures housed here are of different mediums-terracotta, bronze, fiberglass, ceramic etc. The gallery also contains drawings and sketches from many artists.
He also played an important part in the conception of the Chitrakala Vidyalaya.