Anlässlich des 30 Jahr Jubiläums der Städtepartnerschaft zwischen Pisek und Wetzlar veranstalten die Städtischen Museen Wetzlar zusammen mit dem Prachenske Museum eine Kooperationsausstellung über den aus Pisek stammenden Glas-, Porzellan- und Miniaturmaler Jan Zacharias Quast (1814-1891), der in Prag, Wien und Pisek arbeitete und durch seine Bildnisminiaturen sowie kunsthandwerklichen Erzeugnisse berühmt wurde.
With the re-presentation of the spectacular exhibition ‘Hölzel and his Circle’ – originally staged by the Freiburg Art Association in its new building in 1916, in the middle of the First World War – the Museum für neue Kunst at the Augustinermuseum in Freiburg shows how this Black Forest city once advanced the cause of modernism.
Eine neue Ausstellung im Glasmalerei-Museum in Troyes (Cité du Vitrail), widmet sich dem heimischen Glasmaler Louis Germain Vincent-Larcher (1816-1894), dessen Werk sich auf die Stadt und das umliegende Département l’Aube in der westlichen Champagne konzentriert.
Eine Retrospektive im Musée du Verre in Conches (Département Eure in der Region Normandie), widmet sich dem überwiegend religiösen Werk des Ateliers Hébert-Stevens-Rinuy-Bony, das zwischen 1924 und 1997 in Paris gearbeitet hat und zu den engagierten Erneuerern der sakralen Kunst in Frankreich gehört.
Until the 15 October 2017, the Deutsches Glasmalerei-Museum in Linnich is holding a retrospective exhibition entitled ‘Jochem Poensgen. Affinité / Wahlverwandt - Hinterglasmalerei und Glasbilder’ (‘Jochem Poensgen: Affinities – Reverse Glass-painting and Pictures in Stained Glass’) to mark the artist’s 85th birthday.
Two completely contrasting stained-glass exhibitions are currently on display in France: ‘Les Triomphes de Pétrarque’, in Troyes, showing an exceptional panel from Ervy-le-Châtel (Aube), and ‘Lumière du Monde, Glanzlichter der Welt, Lights of the World’ in Chartres. While the first of these exhibitions concentrates on a single and distinctive stained-glass panel from the Early Renaissance, the second covers 300 contemporary works by artists from five continents.
Das 28. Kolloquium des internationalen Forschungsverbandes des Corpus Vitrearum Medii Aevi, findet vom 4.-9. Juli in Troyes statt und widmet sich dieses Mal dem Fensterschmuck (Glasfenstern) in privaten Wohnhäusern, in Stadtpalais und Adelssitzen seit den Anfängen im ausgehenden Mittelalter bis heute.
The Vitromusée Romont is dedicating an exhibition ‑ entitled ‘Le vitrail est mort, vive le vitrail !’ (‘Stained Glass is Dead ‑ Long Live Stained Glass!’) ‑ exclusively to the French artist Theirry Boissel, who lives and works in Munich. Since 1987, this pupil of Ludwig Schaffrath has been exploring the new possibilities offered by glass technology, with a particular interest in kiln-formed industrial glass. Since 1991, he has been leading the study and experimental workshop for stained glass, light and mosaics at the Akademie der Bildenden Künste (Academy of Fine Art) in Munich. Boissel is among those artists working in glass who have renounced the traditional stained-glass techniques of mouth-blown glass and lead cames, and seek new expressive possibilities in their abstract art.
This is the captivating and commanding title of a richly illustrated and scholarly monograph by Benoît Manauté, the first in the field, about the Mauméjean stained glass workshop.
From the late Middle Ages onwards, the inhabitants of Freiburg canton were enthusiastic donors and recipients of panels of stained glass within the confederacy. These radiant pictorial panels, given by cantons, cities, sacred and commercial institutions, and private individuals, were highly significant as symbols of the identity and solidarity of the confederates. This book not only presents over 400 panels surviving in Freiburg canton, ranging in date from the sixteenth to the eighteenth centuries, but also the cultural-historical background to this rich heritage.
At no point since the Middle Ages has stained glass experienced such a flowering as in the period from 1830 until the advent of Jugendstil. Churches shone anew with the light pouring from colourful windows, artistic glazing schemes informed the characters of whole neighbourhoods, people met in taverns by the gleam cast by pictorial panels, and some decorated their homes with armorial glass.
On 22 November 2014, the Deutsches Glasmalerei-Museum in Linnich opened its exhibition dedicated to the work of the German glass-painter Fritz Geiges (1853–1935), who was resident and active in Freiburg im Breisgau. Among his most important commissions were the twenty-seven windows and mosaics for the Kaiser-Wilhelm-Gedächtniskirche in Berlin, of 1895.
A review by David King of the British Corpus Vitrearum of Die Glasgemälde im Gotischen Haus zu Wörlitz (‘The Stained Glass in the Gothic House at Wörlitz’, Berlin, 2012) by Mylène Ruoss and Barbara Giesicke appeared in the December 2014 issue of the on-line magazine Vidimus. The authors were delighted by the coverage and hope their readers will derive much reading pleasure from the book.
In the autumn 2014 issue of its Bulletin, the Metropolitan Museum of Art in New York reports its acquisition of the marriage panel of Gabriel Weydacher and his wife Juliana Wemis of 1519. The panel came from the Franciscan monastery of the silver town of Schwaz in the Tirol, and was acquired in 2013 for the collection of The Cloisters , the medieval branch of the Metropolitan Museum of Art. It will be seen by thousands of visitors every year and will be a shining ambassador for the Tirol from the past.
From 15 June 2014, the Vitromusée in Romont is presenting a unique exhibition of its recent acquisitions of the last few years, at the heart of which is a small stained-glass panel by Marc Chagall (1887–1985) with the profile of a man – perhaps the artist himself? – and a bouquet of flowers.
The Barbara Giesicke Gallery contributed to this exhibition, through the sale of one of its panels to the museum.
In recent years, it has been possible to secure the services of outstanding artists such as Gerhard Richter, Markus Lüpertz and Neo Rauch to execute stained glass for sacred spaces. The admission of heroes of contemporary art to the traditional field of creating stained glass has produced wonderful and much-discussed masterpieces, not just in Cologne and Naumburg. The exhibition Glanzlichter: Meisterwerke zeitgenössischer Glasmalerei im Naumburger Dom (‘Shining Lights: Masterpieces of Contemporary Glass-painting in Naumburg Cathedral’) explores this thrilling phenomenon with a survey of more than 50 original works.
(Text by Holger Brülls, curator of the exhibition and author of the catalogue)