Stained glass window artists capture not only artistic techniques, but architectural methods as well to construct their works of art. These techniques have subsisted for thousands of years and have survived through multiple cultures. Colors, patterns, and scenes draw an emotional response out of a viewer as well as portray a visual interpretation of a story, scripture, or moment in time. In order to completely comprehend the extent of the art and architecture of a stained glass window, an individual must first have knowledge of a stained glass window’s origin. “Egyptian or Mesopotamian potters accidentally discovered glass when firing their vessels. The earliest known manmade glass is in the form of Egyptian beads from between 2750 and 2625 BC.” (Gross, Par 5) A majority of people in the world in the present day cannot elucidate where a simple pane of glass comes from or cannot visualize an existence without these fragile sheets of glass. Windows, however, did not appear for a few thousand years and stained glass windows did not emerge for multiple years after the creation of regular windowpanes. “The early [stained glass] windows were purely ornamental transparent mosaics.”(Coleman, Par. 3) Stained glass windows are traditionally instituted in Catholic churches and cathedrals, but can also be found in a variety of other places. In the modern era, an individual can procure a stained glass window for their home, business, or any other establishment that they wish to place a window in. The array of colors in a stained glass window, however, vary based on the image created in the mind of the artist as well as retrieve an emotional reflection out of a viewer. Obtaining an emotional reaction is one of the major goals of a ... ... middle of paper ... ...otions and assist the viewer in expressing the impact that it should and does have on them as a person. Works Cited Coleman, Caryl. "Stained Glass." The Catholic Encyclopedia. Vol. 14. New York: Robert Appleton Company, 1912. 6 Dec. 2011 . Cowan, M. H. E-mail interview. 05 Dec. 2011. Gross, Richard H. "History of Stained Glass » Stained Glass Association of America." Stained Glass Association of America. Stained Glass Association of America, 2011. Web. 06 Dec. 2011. . Kubler-Ross, Elizabeth. Sunbeams: a Book of Quotations. Comp. Sy Safransky. Berkeley, CA: North Atlantic, 1990. Print. Lamancusa, Kathy. "Creative Latitude: Articles." Creative Latitude: Home. Creative Latitude, 2003. Web. 06 Dec. 2011. .
That the experience is very unique and would even match others that are similar to another to be connected to form for a purpose. This helps because it will unite people who have the same issues or issues that are similar to express and to change some of things that needed to be changed. It makes the story real to be very detailed and also show the reaction to other people. This also paint a picture into people mind to feel like they are there with the person that are telling the story. The example Victor Rios shown were well detail and very realistic to be felt like you were there at the scene with the person in that place and time. For one is to feel like to be at Oakland during that time in the situation that they are in to be tough and desperate. Another when Victor Rios explains the ritual for gang member to be realistic of the process and also some of the action they have to participate during their daily lives. This is very important to know what the situation is and how to find a way to resolve the problem without adding more problems to make it worst for everyone around it. This will also give way to other solution solve other problems that are non-related or related to make it easier. To this novel these problems could be solved to be small step to helping out the youth through programs and then to larger steps like
...to interpret the material up to the reader, but the use of these appeals help persuade the audience member to think a certain way. These analytical tools prove just how effective and in depth writers go into their material to make their work come across more powerful and influential, and each of these authors did just that.
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
Keefe, John Webster. Libbey Glass: A Tradition of 150 Years: 1918-1968. Toledo, Ohio: Toledo Museum of Art, 1968.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
One of the most interesting properties of glass is that of it being able to bend and reflect light. Through the bending and reflecting of light rays, an image is created. What happens though when the image formed is not the focal point but rather is the source of the image, the glass itself? In the commencement of Dave Eggers’s novel ‘The Circle,’ there is recurring images of glass. The lustrous, pristine, and progressive visage that glass supplies encapsulated the Company’s essence of high quality and rapid advancement, and as such comprised most of the physical structure of the building. However, the high-end aesthetic that glass provides is not the only idea that Eggers is attempting to promulgate through the glass images. The less obvious
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...
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...
themes of the play and helps us gain insight on other characters. I find the following quote to be
made in. Some incorporate them into the plot, some use them as allegories, and some satirize them.” Without an influence or connection to relate with the audience, the film would have no dimension. When seeing a movie, viewers are always going to search for an underlying meaning or message that could connect to their lives today. Although most
puts a story on the screen and into life so that people can see it.
Best known for his use of color, Henri Matisse cleverly cultivated his status as a modern artist using many different styles of painting from Impressionism to Fauvism. The artwork of Matisse has been a milestone in the history of painting. Henri Matisse’s self-proclaimed masterpiece, however, a chapel in Vence, France, is a small, minimalist building. The amalgamation of modern art and the sacred creates a unique spiritual experience in that it welcomes Christians and non-Christians alike to appreciate the artist’s religious symbolism. The elegantly simple architecture of the chapel, the use of light in the space, and the binary of colors on opposite walls have a calming, cleansing, and transformative effect that is undeniable.
...ing message and provide an emotional punch to equal the book's resonance, which would have probably made a longer film, but added to the continuity if the film.
Another aspect of Gothic architecture, that was heavily influenced by religion, is the implementation and utilization of the rose window. It depicts the final judgement of man and is part of the Gothic tradition in which biblical and historical stories were portrayed in stained glass and sculpture. At a time when most of the population was illiterate, these embellishments made biblical scripture available to everyone. [Pevsner, Nikolaus. 1963. An Outline of European Architecture. Harmondsworth, Middlesex: Penguin Books.]