The Great Hall in National Gallery of Victoria
The stained-glass ceiling was designed and made by Leonard French. What I realize first when the first I came to this room is a light shine through the glass which brings a nice colourful shadow to the floor that looks like a rainbow. Another thing that I realised was the ceiling is held up by a series of slim steel columns, so I assumed that the glass is really heavy because there are a lot of steel columns that support the glass. Then I tried to lie down on one of the round-shape sofa and look up, it reminds me of St. Patrick Cathedral because the cathedral also have this kind of piece but the picture is different. In the Cathedral, the Lord Jesus depicted in the form of glass while in The
…show more content…
Breaking some colourful glass into smaller piece and finding the perfect piece to fit the frame is how I imagine it would happen if I am the artist. Then after did some research, I found out that each of the main intersecting triangles has been turned into thousands of geometric pieces of coloured and clear glass that have been cut so their facets bounce and refract coloured light. There are 224 triangles of diamond-cut-primary colours weight 300 kilograms each (Kemshal-Bell 2013). The ceiling was made by Australian symbolist painter Leonard French and describe as the absurdly sharp learning curve, he needed to embrace the five years (1965-70) that it took him to finish it. He never worked with glass and said he essentially needed to learn glass craft as he continued for accepting the commission of the NGV's chief architect, Sir Roy Grounds, to making the post of compelling artwork's piece de resistance: "a roof that is a show-stopper in itself". With the assistance from his three associates, French learnt how to part 2.5-centimetre-thick piece of French and Belgium glass into the rough geometry of his enormous design by using an anvil and hammer. Each of the main intersecting triangles has been transformed into thousands of geometric bit of hued and clear glass that have been cut so their features ricochet and refract hued light (Brown
The Lothar Crystal, also known as the Susanna Crystal or London Crystal is one of the most highly skilled extant examples of Carolingian engraving ever created and currently apart of the British Museum’s collection. Created in a style that appears to have already dwindling It is a single lentoid of clear quartz that measures some four and a half inches (11.5cm) in diameter and depicts the biblical scenes of Susanna’s Judgement from Daniel 13. There are some very fine flaws running horizontally through scene six and partly into scene seven, and one severe crack through it’s centre. Supposedly it was cracked when thrown into the Meuse during the sack of Waulsort by the French in 1793. The flaws do not obscure the engraved design but cause a slight sparkle when the stone is moved. The interpretation of this exquisite piece has been a point of contention among scholars of the Carolingian era for over a century as the engraving suffers considerably from a lack of contemporary sources. Conjecture and misinterpretation throughout history has been a constant hindrance to the understanding of this piece and the intended message conveyed within the eight scenes and forty figures of the Lothar Crystal. This intended meaning and to whom the Crystal was intended to be shown shall be the primary focus of this essay, as well as discerning the true intention of its creation.
John the Baptist was not constructed in the late Medieval period like Chartres Cathedral so by the time it was built, many architectural solutions had been developed (i.e.: no flying buttress needed are needed to support St. John the Baptist) but still the Gothic traditions thrive. Unlike many Gothic cathedrals, including Chartres Cathedral, there is no richly carved door tympanum at the entrance, however like most French Gothic cathedrals there is a rose circle window above the entrance and a transept on either side preceding the altar. Above the alter there are three equilateral lancet arched windows with stained glass which provide ample light for the monumental, white marble
The Pantheon and the Cathedral of Chartres differ in structure and design. The Pantheon consists of two different parts the first is a porch surrounded by classic Greek architecture columns made of marble. The second part of the building is a circular Roman style made entirely of brick and concrete with dome as a roof. The only sources of lighting in the Pantheon are the two large bronze doors and the oculus at the top of the dome. Where the Cathedral of Chartres resembles French gothic style architecture made completely out of stone. The Cathedral of Chartres is built in the shape of a cross like most of the Cathedrals in the gothic period. It contains pointed arches, chapels, and sculptures. Unlike the Pantheons two sources of light the Cathedral of Chartres contains 176 stain glass windows along the exterior walls (Encyclopedia Britannica).
Philippe Petit changed numerous peoples’ thoughts about the Twin Towers when he performed his high wire walk between them in 1974. Before Philippe Petit walked the high wire between the Twin Towers in 1974, people weren’t certain how they felt about the construction of the World Trade Center. After Philippe performed, people began to warm up to the idea of the towers. Philippe Petit walked the high wire between the Twin Towers on August 7, 1974. This event prompted Andrew McMahon to write the song “Platform Fire” about this event for his band, Jack’s Mannequin. This song was not a hit for the band; however, fans of Jack’s Mannequin seem to have a special place in their heart for it.
After walking inside and trying to first experience, the church, and all its beauty and ornateness, I began examining the floor plan and elevations of the cathedral. Grace Cathedral was build in a gothic style, which it represents in its architecture inside and out. There were three huge rose windows. One at the very top of the main entrance and one on either end of the transept. There wer...
“Before I Came to Paris”, is the first chapter of Gertrude Stein’s novel, The Autobiography of Alice B. Toklas, in which Alice B. Toklas narrates a basic history of her life and the events leading to her departure for Paris. Alice was born in San Francisco, California where her grandfather, a pioneer, had moved to in 1849 and married her grandmother, a music lover. Men of the family participated in Paris battles leaving behind the family for some time, eventually returning as land owners. Alice was not a fan of the violence that her family participated in but rather had hobbies in needlework and gardening. She was also interested in paintings, furniture, tapestry, houses, flowers, vegetables and a view that was not looked at. Alice was the
This cathedral was built during the Medieval Period for the worshipers of God. To this day pilgrims come to see the pure, Gothic cathedral. The massive cathedral seems to loom overhead as if a symbol of God watching over the worshippers that visit. The earlier church burned in 1194, it was rebuilt and has gained a much more appreciated and admirable character distinction, statuary, and stained glass. The distinct character of the thirteenth century was captured, through the “Age of Faith” period. The architecture is Gothic which was very popular in the 1200s. Gothic architects created a frame of support with columns and arches so that the walls no longer need to support the ceilings, but are freed up to hold windows. The Gothic structure allows for plenty of windows. Chartres has a significant collection of medieval stained glass, with over 150 early thirteenth century windows. The windows allowed sunlight to enter the dark, Gothic cathedral in order to highlight the story of Christ through the stained glass windows told throughout history to pilgrims alike. These windows create a spiritual and promising place for thought and prayer. Stained glass was used to help teach the stories of Christ to people that were illiterate during the medieval times. While most worshippers of that day were illiterate, comprehending the symbolism of the story of Christ in each of the windows was vital and gave meaning towards adversity during the medieval ages, as they struggled through their dark and dreary lives, which were filled with hopefulness, while viewing the story through the stained glass windows. The windows are also...
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
Ziggy Marley once said, “God is like the sun. When the sun shines, it shines for everyone. God is for everyone.” In the same way, Abbot Suger built the Basilica of St. Denis so that sunlight would flood throughout the building and symbolize the power of God inviting visitors into the cathedral. The Basilica of St. Denis was an artistic response to the rise of the Catholic Church’s power for it was modeled to be a physical representation of heaven, which the church heavily preached upon. (Thesis) As the basilica represented the shift from Romanesque architecture to Gothic, Abbot Suger introduced new techniques that transformed cathedrals to look more spacious and “heavenly”. (Map Statement #1-Art History) By allowing sunlight to come through the large windows, Abbot Suger instilled the Neo-Platonic idea that the sun was the physical representation of God. (Map Statement #2 –Philosophy) Also, at that time, the church was rising in power, so the new structural style of the basilica brought more converts and eventually more power to the church. (Map Statement #3 –Social Institutions) [Insert Literature Map Statement] The Basilica of St. Denis was built so that worshippers would be in awe of the “heaven-like” setting, which would cause more people to declare their faith to God and to the church.
It was in ancient Rome that stained glass windows were first created and admired, being simple compositions of colored glass. It was between 1150 and 1500 that stained glass art reached its peak in Europe, where large, historiated windows were being created for cathedrals (Metmuseum.org, 2014). These windows were “illuminated visual sermons of biblical stories,” and greatly changed the way the congregation learned about religion (Reynolds, 2013, p. 3). It wasn’t until the late 1800s that stained glass artists began making secular-themed windows. Another art form that became popular in the late 1800s was glass paperweights. It is thought that the first glass paperweight was created in Venice by the glass artist Pietro Bigaglia around 1845 (Exhibits.museum.state.il.us, 2014). Four artists, featured at the Corning Museum of Glass, who pushed the boundaries of the way these everyday items were created were Louis Comfort Tiffany, Jean Crotti and Roger Malherbe-Navarre, and the Compagnie des Verreries et Cristalleries de Baccarat.
The “Mosque Lamp” of Egypt, like many of its kind, is shaped with a rounded base, a narrow center and a wide top. It is formed of glass that is enameled and filled in with fine gold, and then it is elaborately painted with blue enamel Arabic script and red, green, white, yellow and blue floral motifs. Unlike the Iznik method used during the Ottoman period in which mosque lamps were made with earthenware pottery and then glazed, mosque lamps like this one utilized the techniques of the prevalent glass production in Egypt and Syria. Luxury glass had been produced under various techniques such as cut glass and luster painting in between the 9th and 11th century under the Umayyad and Abbasid dynasties. When it moved on to the Mamluk period in the 13th century, production in Syria and Egypt emerged, using techniques of gilding painting and e...
German studio glass artist Erwin Eisch has produced many intricate and curious modern sculptures during his long career, perhaps his most personal being “Eight Heads of Harvey Littleton”. Eisch met the American glass artist Harvey Littleton in 1962, and their close friendship led to a unification of European and American studio glass cultures. The sculpture is a portrait of his friend made up of eight individual cast glass heads with enamel detailing, each displaying a different mood or characteristic of Littleton.
The film that is under consideration and will be discussed about, Amelie or in other words, The Fabulous Destiny of Amelie Poulain is one of the famous and undoubtedly most critically acclaimed as well as appreciated films of the popular French director Jean-Pierre Jeunet. This film has in each and every way moved me and made me think about it a lot of times and that is the sole reason why I would be more than interested to discuss about it and analyze it in a very specific way. In a summarized and concise way Amelie can be described to be a film revolving the story of a particular girl named Amelie, who lives in Paris and while trying to find herself in her journey of living her life, she ends up helping each and everybody who came across her and also discovered love in this endeavor. The originality of the story rests in the fact that how a simple and basically a loner’s love story are presented in the most unique way. The film has in each and every way dealt with the theme of identity through the usage of the different technical aspects related to making a film, like that of cinematography, editing, audio etc. This particular director, Jean-Pierre Jeunet has used complementary opposite color palettes in this particular film in order to fulfill the purpose of achieving and thereby incorporating an extra sense of stylized surrealism in the film. The theme of identity is recognized in a lot of scenes in the film as it is seen how Amelie as well as some other characters have the spontaneous urge to know about Amelie as a person in general. Thus to know oneself and by the judgment of actions and thoughts, to strive to derive to definite conclusions so that one can be de...
When I was a child I used to be frightened of entering such a place for it seemed so imposing and somewhat dangerous, especially when music was being played. One day, in order to keep a promise I had made, I saw myself forced to enter. It took me quite a while to get the courage to pass through the old oak door, but the moment I stepped in, I realized just how enchanting and breathtaking this building could be. Its fantastic architecture and exquisite frescoes reflect perfectly the unity between this earth and the unseen kingdom of angels in such a manner that one cannot say where one ends and the other begins. The way in which the church was built is also the vivid testimony of a medieval period. Although it is a place that can sometimes be cold and ask for respect it is where prayers are answered and magic is done. An overwhelming feeling of inner harmony takes over you once you enter and God seems much closer. Darkness and light are welded perfectly together creating Redemption’s house. The tower allows you to see the entire town from the smallest river to the biggest building site, offering you its mightiness.
sapin qui est sept pieds longs et je décore le sapin de Noël avec des