The Stained-Glass Windows of Barcelona Cathedral (original) (raw)
Related papers
The Stained-Glass Windows of Santa Maria del Mar, Barcelona
The Concept and Fabrication of Stained Glass from the Middle Ages to Art Nouveau 30th International Colloquium CORPUS VITREARUM Barcelona -Cerdanyola -Girona 4-7 July 2022 Organized by the Catalan Committee of the Corpus Vitrearum, 2022
History of the Stained-Glass Windows of Santa Maria del Mar, Barcelona (summary)
Stained-Glass Windows Designs of the 17th and 18th Centuries Preserved in Barcelona
The Concept and Fabrication of Stained Glass from the Middle Ages to Art Nouveau 30th International Colloquium CORPUS VITREARUM Barcelona – Cerdanyola – Girona 4–7 July 2022, 2022
This article aims to highlight a collection of stainedglass designs dating from the 17th/18th century and reveal elements of their origin, authorship, and purpose. They are kept in the Church of Santa Maria del Mar in Barcelona. The conservation of old designs is not very common. In fact, in Catalonia, they only survive from the 18th century: the eleven presented here and the one found by Francesc Miralpeix (published in 2008) in the Archive of Girona Cathedral corresponding to Francesc Saladriga’s design of 1730 for the rosette on its façade. This design never came to fruition because of its high cost. The eleven designs presented here were donated in 1905 by Joaquim Amigó, head of the company Hijo de Eudaldo Ramon Amigó y Cía, to the Junta Municipal de Museus i Belles Arts de Barcelona.They show unity in their origin but great differences in quality and intended destination. The Churches of Santa Caterina, Santa Maria del Pi, and Santa Maria del Mar would be the recipients of the completed windows. The differences between the preserved works in stained glass and the designs indicate that the windows have undergone significant changes, either from the outset of production or over time. The wide range of sources for the design models is also an element to highlight. Some of them are local, while others come from international paintings of the first order and from repertoires of engravings that circulated through the studios and from all over Europe. Changes that were taking place in the field of painting during the 18th century plus the presence of the painter Antoni Viladomat in Barcelona are part of the interpretation of some of these designs. In this respect, we must rethink the collaboration of the painter with the Ravella studio, as the literature has pointed out concerning the development of the windows of the Church of Santa Maria del Pi.
Foreign contributions to early twentieth century stained glass windows of Catalonia
Folia Historiae Artium, 2019
This article aims to show how some Catalan designers of the early twentieth century used certain elements of the European arts to create new stained glass windows. It is an evident fact, that neo-Gothic windows were influenced by the Gothic style. Also, some baroque windows took up some models from different works of other arts, but in the nineteenth century, this phenomenon was more frequent. There are in Barcelona some windows dating back to the nineteenth and early twentieth centuries, made by Catalan workshops, especially by Rigalt and Granell, the designs of which come from European works. These represent only one small part of Rigalt and Granell’s production, but it is important to see the Modern concept that dominates stained glass in private houses, while in churches the neogothic style remained. The absorption of the international models that they applied in their designs came from different sources. We want to highlight the importance, for the Catalan workshops business, of acquiring European and American magazines and repertoires because they give modernity to the pieces and make it possible to adapt their production to the tastes of their customers. It must be said that we have wanted to speak about these stained-glass windows, these reinterpretations, to emphasize the importance of international relations to understand also local productions.
The Development of Stained Glass in Gothic Cathedrals
Stained glass is arguably one of the most important aspects of Gothic cathedrals. As its popularity rose, mainly during the mid-12 th century, the increased presence of stained glass presented major changes to the way the general populace was learning about religion. The windows became illuminated visual sermons of biblical stories, which may have had an even greater impact than the spoken word of the priest. This paper focused primarily on the stained glass windows and architectural styles employed in five gothic buildings in France, each having their own unique and notable attributes pertaining to the development of stained glass windows. By looking at the architectural advancements shown in these structures built during the gothic time frame, we are able to see the impact of the widespread desire for increased height and light within these types of buildings on the gothic cathedral.
After four years, the colloquium in Barcelona offers us an opportunity finally to meet in person. As I write, in March 2022, the occasion seems more and more possible. Can any colloquium ever have been more welcome in prospect? The theme of our 30th International Colloquium, 'The Concept and Fabrication of Stained Glass from the Middle Ages to Art Nouveau', is highly appropriate to the Catalan setting. This is the second colloquium in the region, and both featured or will feature that extraordinary survival of the medieval glaziers' craft, the glazing tables in Girona Cathedral. Bringing together thinking and making, the theme is also appropriate to a joint session of the colloquium and the forum for conservation, about the tables. Across almost the whole new, broad timescale of our project, from the middle ages to the twentieth century, the programme promises stimulating insights into the relationship between the materials and settings for the medium that we study, and very different cultural environments, with different ways of making art and thinking about its manufacture. We shall be hearing about pattern books and drawings, artists and glaziers, craft workshop practice and serial production, stained glass and other media, and authorship and the status of those involved in the craft. We look forward with excitement to the many opportunities that are planned for us to explore the stained-glass riches of Barcelona itself, in its city churches, the cathedral and at the Sagrada Familia, and to visiting the Museu del Disseny. We shall also go to Girona itself to hear about new work on the famous tables. Remarkably, a long-forgotten thirteenth/fourteenth-century window has emerged from behind an altarpiece in time for our colloquium. Beyond the formal programme, of course, we anticipate with pleasure the opportunity to meet again in person, on the streets of this great medieval trading city, with its extraordinary history of creativity and international exchange down the centuries. Altogether, it promises to be a wonderful event, for thinking and working together, and for meeting again after years of lockdown.
The Journal of Sciences and Arts - Helwan University , 2019
After the Second World War, many of the stained-glass artworks of the French Gothic cathedrals, which were the general and distinctive form of the cathedral from the inside, were found to have been destroyed and could no longer, be restored. After, the old crashed stained-glass windows were replaced with white glass panels, a new problem began to appear, as the amount of lighting inside the cathedral became very strong, it became obvious that there was a visual defect with a negative impact on the spiritual atmosphere that used to characterize the place. Hence, forward-thinking priests called for the opening of the churches to renowned modern artists to make a new revival of the aesthetic role of both ancient and modern cathedrals; thus, modern artists of this era had a major role in this issue; the strange about this was not the redesigning of stained glass in these cathedrals, the strange issue in here was the redesigning within the vision and on the hands of the modern-day artists who were famous for their spirit of rebellion against all traditions and known for their innovation in the language of visuals, which was rejected in form and core in the design and the application of sacred art in general, in all Christian worship buildings; this religious tolerance reached its climax when atheists artists or whom they belong to different faith took part in these works inside the cathedrals. On one hand, the research sheds light on this period, the impact of this openness and religious tolerance on the revival of ancient religious architecture; on the other hand, it explores the beginning of the change in the sacred art's features in light of modern art; as well as the mutual influences between the aesthetics of glass arts and the styles of modern artists in the holy architecture. Although many opinions were not welcoming such experiences, these going-forward steps by the Catholic Church, especially in Europe, have became wider and continuous toward the employment of modern art. Therefore, the research follows up these experiments' influence on more stained glass contemporary art treatments in old cathedrals in other regions of Europe; between modern and contemporary, the researcher uses the historical, critical and analytical methods on these experiments, visually and aesthetically. The research concludes some results that may be useful in local experiments, as there are many ancient holy places - Christian and Islamic - in Egypt in which a redesign for their ruined surfaces of stained glass can be applied, which may restore the original function of these surfaces, while conserving the character of this kind of buildings at the same time of reviving its spiritual and aesthetic role. Translated to English by: Adham Allam https://independent.academia.edu/adhamallam1 adhamallam2001@gmail.com
Normandy is today one of the areas of France that retains the largest group of ancient stained glass. At the beginning of the XIXth century, an important number of windows moved to the art market and Rouen was particularly affected by this phenomenon. The example of Rouen cathedral is well documented and allow to follow the journey of a medieval stained glass, from the windows of the church to the collector. The painted glass was removed from its original location after a restoration, then stolen by the glass painter in charge. He transformed an hagiographic stained glass into a small royal portrait, much more adapted to the market requirements. Then ready to be selled, this work went to the parisian market, in the hands of art dealers who had connections with americans collectors. This communication will retrace the journey of this stained glass, which became the property of the famous William Hearst.
Abstract from my research work about “The Gotlandic Merchant Republic and its Medieval Churches”
Interdisciplinary Studies in the Long Nineteenth Century, 2020
In the afterword to this issue, Isobel Armstrong reflects on a phenomenology of nineteenth-century stained glass.