This book will serve you well if: You're new to traditional stained glass painting and are uncertain which brushes, paints and tools to buy - this book will tell you what you want to know. The accompanying 12 free videos will also introduce you to the key techniques. You've painted stained glass for a while but still worry "Is it my lack of skill which is the problem, or is it my brushes, paints and tools which stop me achieving the results I want?" - this book will guide you to the answer. And the 23 free designs will give you an excellent resource with which to practise. You're a teacher who wants your students to experience the joy of mastering this wonderful craft - this book will show you the smallest, most effective set of brushes, paints and tools to place before them so they can triumph. From designers and painters Williams & Byrne, and featuring entries from the journal of the forgotten Victorian craftsman Nathaniel Somers, this book will demonstrate how few possessions you really need to paint stained glass. This is Book 1 of The Glass Painter's Method.

Stained glass is a monumental art, a corporate enterprise dependent on a patron with whom artists blend their voices. Combining the fields now labeled decorative arts, architecture, and painting, the window transforms our experience of space. Windows of colored glass were essential features of medieval and Renaissance buildings. They provided not only light to illuminate the interior but also specific and permanent imagery that proclaimed the importance of place. Commissioned by monks, nuns, bishops, and kings, as well as by merchants, prosperous farmers, and a host of anonymous patrons, these windows vividly reflect the social, religious, civic, and aesthetic values of their eras. Beautifully illustrated with reproductions from the remarkable stained glass collection at the J. Paul Getty Museum, Stained Glass addresses the making of a stained glass window, its iconography and architectural context, the patrons and collectors, and the challenges of restoration and display. The selected works include examples from Austria, Belgium, England, France, Germany, the Netherlands, and Switzerland. Subject matter ranges from monumental religious scenes for Gothic churches to lively heraldic panels made for houses and other secular settings. Integrating comparisons to works of art in other media, such as manuscripts, drawings, and panel paintings, this book encourages the general reader to see stained glass as an element of a broad artistic production.

With many excellent books on medieval stained glass available, the reader of this anthology may well ask: “what is the contribution of this collection?” In this book, we have chosen to step away from national, chronological, and regional models. Instead, we started with scholars doing interesting work in stained glass, and called upon colleagues to contribute studies that represent the diversity of approaches to the medium, as well as up-to-date bibliographies for work in the field. Contributors are: Wojciech Balus, Karine Boulanger, Sarah Brown, Elizabeth Carson Pastan, Madeline H. Caviness, Michael W. Cothren, Francesca Dell’Acqua, Uwe Gast, Françoise Gatouillat, Anne Granboulan, Anne F. Harris, Christine Hediger, Michel Hérold, Timothy B. Husband, Alyce A. Jordan, Herbert L. Kessler, David King, Brigitte Kurmann-Schwarz, Claudine Lautier, Ashley J. Laverock, Meredith P. Lillich, Isabelle Pallot-Frossard, Hartmut Scholz, Mary B. Shepard, Ellen M. Shortell, Nancy M. Thompson.

The history of art is inseparable from the history of color. And what a fascinating story they tell together: one that brims with an all-star cast of characters, eye-opening details, and unexpected detours through the annals of human civilization and scientific discovery. Enter critically acclaimed writer and popular journalist Victoria Finlay, who here takes readers across the globe and over the centuries on an unforgettable tour through the brilliant history of color in art. Written for newcomers to the subject and aspiring young artists alike, Finlay’s quest to uncover the origins and science of color will beguile readers of all ages with its warm and conversational style. Her rich narrative is illustrated in full color throughout with 166 major works of art—most from the collections of the J. Paul Getty Museum. Readers of this book will revel in a treasure trove of fun-filled facts and anecdotes. Were it not for Cleopatra, for instance, purple might not have become the royal color of the Western world. Without Napoleon, the black graphite pencil might never have found its way into the hands of Cézanne. Without mango-eating cows, the sunsets of Turner might have lost their shimmering glow. And were it not for the pigment cobalt blue, the halls of museums worldwide might still be filled with forged Vermeers. Red ocher, green earth, Indian yellow, lead white—no pigment from the artist’s broad and diverse palette escapes Finlay’s shrewd eye in this breathtaking exploration.

This Encyclopedia begins with an introduction summarizing itsscope and content. Glassmaking; Structure of Glass, GlassPhysics,Transport Properties, Chemistry of Glass, Glass and Light,Inorganic Glass Families, Organic Glasses, Glass and theEnvironment, Historical and Economical Aspect of Glassmaking,History of Glass, Glass and Art, and outlinepossible newdevelopments and uses as presented by the best known people in thefield (C.A. Angell, for example). Sections and chapters arearranged in a logical order to ensure overall consistency and avoiduseless repetitions. All sections are introduced by a briefintroduction and attractive illustration. Newly investigatedtopics will be addresses, with the goal of ensuring that thisEncyclopedia remains a reference work for years to come.