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Bîtes en chaleur alternative title for Cocktail Porno Notes available (non-sex, plays a Love Theatre go-go dancer) Bittes en chaleur alternative title for Cocktail Porno Notes available (non-sex, plays a Love Theatre go-go dancer) Blue Ecstasy 1976, Dir. Frederic Lansac Notes available (as Sylvia Diam's, plays Linda, the lover in London) Blue Extasy alternative title for Blue Ecstasy Notes available (as Sylvia Diam's, plays Linda, the lover in London) Cocktail Porno 1976, Dir. Alain Payet Notes available (non-sex, plays a Love Theatre go-go dancer) Experiments in Blue alternative title for Blue Ecstasy Notes available (as Sylvia Diam's, plays Linda, the lover in London) Extases extra-conjugales alternative title for Blue Ecstasy DVD available Notes available (as Sylvia Diam's, plays Linda, the lover in London) Games for an Unfaithful Wife alternative title for Blue Ecstasy Notes available (as Sylvia Diam's, plays Linda, the lover in London)
Muttchens Mösengestüt 1970s Notes available (plays a daughter) Mutti's Mösengestüt alternative title for Muttchens Mösengestüt Notes available (plays a daughter) Les Partouzeuses alternative title for Cocktail Porno Notes available (non-sex, plays a Love Theatre go-go dancer) Perverse Spiele unersättliche Mädchen alternative title for Blue Ecstasy Notes available (as Sylvia Diam's, plays Linda, the lover in London) El Telegrama del extasis alternative title for Blue Ecstasy Notes available (as Sylvia Diam's, plays Linda, the lover in London)



Probably the earliest scheme of stained glass windows that was created during the Renaissance was that for Florence Cathedral, devised by Lorenzo Ghiberti.[13] The scheme includes three ocular windows for the dome and three for the facade which were designed from 1405 to 1445 by several of the most renowned artists of this period: Ghiberti, Donatello, Uccello and Andrea del Castagno. Each major ocular window contains a single picture drawn from the Life of Christ or the Life of the Virgin Mary, surrounded by a wide floral border, with two smaller facade windows by Ghiberti showing the martyred deacons, St Stephen and St Lawrence. One of the cupola windows has since been lost, and that by Donatello has lost nearly all of its painted details.[13] In Europe, stained glass continued to be produced; the style evolved from the Gothic to the Classical, which is well represented in Germany, Belgium and the Netherlands, despite the rise of Protestantism. In France, much glass of this period was produced at the Limoges factory, and in Italy at Murano, where stained glass and faceted lead crystal are often coupled together in the same window. The French Revolution brought about the neglect or destruction of many windows in France. At the Reformation in England, large numbers of medieval and Renaissance windows were smashed and replaced with plain glass. The Dissolution of the Monasteries under Henry VIII and the injunctions of Thomas Cromwell against "abused images" (the object of veneration) resulted in the loss of thousands of windows. Few remain undamaged; of these the windows in the private chapel at Hengrave Hall in Suffolk are among the finest. With the latter wave of destruction the traditional methods of working with stained glass died, and were not rediscovered in England until the early 19th century. See Stained glass – British glass, 1811–1918 for more details. In the Netherlands a rare scheme of glass has remained intact at Grote Sint-Jan Church, Gouda. The windows, some of which are 18 metres (59 feet) high, date from 1555 to the early 1600s; the earliest is the work of Dirck Crabeth and his brother Wouter. Many of the original cartoons still exist.[14] The Resurrection, Paolo Uccello, (1443–45) one of a series in the dome of Florence Cathedral designed by renowned Renaissance artists. Giovanni di Domenico, The Angel of the Annunciation, 1498-1503, National Gallery of Art Tree of Jesse window, Church of St-Étienne, Beauvais, France, Engrand Le Prince, (1522–1524) Detail of Adam and Eve from the Cathedral of St-Etienne, Châlons-en-Champagne, France Renaissance window in the church of SS Giovanni and Paolo, Venice 16th century The Triumph of Freedom of Conscience, Sint Janskerk, maker Adriaen Gerritszoon de Vrije (Gouda); design Joachim Wtewael (Utrecht) (1595–1600) Domestic window by Dirck Crabeth for the house of Adriaen Dircxzoon van Crimpen of Leiden. (1543) The windows show scenes from the lives of the Prophet Samuel and the Apostle Paul. Musée des Arts Décoratifs, Paris.[14] The Passion of Christ: the Capture and Crucifixion, Saint-Pierre, Limours, Essonne, France, (1520) Glass painting depicting Mordnacht (murder night) on 23/24 February 1350 and heraldry of the first Meisen guild's Zunfthaus, Zürich. (c. 1650) The story of how the Crown of Thorns passed from John of Brienne and Baldwin II of Constantinople to Saint Louis IX of France, Moulins Cathedral (16th century) The Death and Assumption of the Virgin Mary, Church of SS Ägidius and Koloman, Steyr, Austria Revival in Britain Main article: British and Irish stained glass (1811–1918) The Catholic revival in England, gaining force in the early 19th century with its renewed interest in the medieval church, brought a revival of church building in the Gothic style, claimed by John Ruskin to be "the true Catholic style". The architectural movement was led by Augustus Welby Pugin. Many new churches were planted in large towns and many old churches were restored. This brought about a great demand for the revival of the art of stained glass window making. Among the earliest 19th-century English manufacturers and designers were William Warrington and John Hardman of Birmingham, whose nephew, John Hardman Powell, had a commercial eye and exhibited works at the Philadelphia Exhibition of 1876, influencing stained glass in the United States of America. Other manufacturers included William Wailes, Ward and Hughes, Clayton and Bell, Heaton, Butler and Bayne and Charles Eamer Kempe. A Scottish designer, Daniel Cottier, opened firms in Australia and the US. Detail, Apostles John and Paul, Hardman of Birmingham, 1861–67, typical of Hardman in its elegant arrangement of figures and purity of colour. St. Andrew's Cathedral, Sydney One of England's largest windows, the east window of Lincoln Cathedral, Ward and Nixon (1855), is a formal arrangement of small narrative scenes in roundels William Wailes. This window has the bright pastel colour, wealth of inventive ornament, and stereotypical gestures of windows by this firm. St Mary's, Chilham Clayton and Bell. A narrative window with elegant forms and colour which is both brilliant and subtle in its combinations. Peterborough Cathedral Revival in France Further information: List of French stained glass manufacturers In France there was a greater continuity of stained glass production than in England. In the early 19th century most stained glass was made of large panes that were extensively painted and fired, the designs often being copied directly from oil paintings by famous artists. In 1824 the Sèvres porcelain factory began producing stained glass to supply the increasing demand. In France many churches and cathedrals suffered despoliation during the French Revolution. During the 19th century a great number of churches were restored by Viollet-le-Duc. Many of France's finest ancient windows were restored at that time. From 1839 onwards much stained glass was produced that very closely imitated medieval glass, both in the artwork and in the nature of the glass itself. The pioneers were Henri Gèrente and André Lusson.[15] Other glass was designed in a more Classical manner, and characterised by the brilliant cerulean colour of the blue backgrounds (as against the purple-blue of the glass of Chartres) and the use of pink and mauve glass. Detail of a "Tree of Jesse" window in Reims Cathedral designed in the 13th-century style by L. Steiheil and painted by Coffetier for Viollet-le-Duc, (1861) St Louis administering Justice by Lobin in the painterly style. (19th century) Church of St Medard, Thouars. A brilliantly-coloured window at Cassagnes-Bégonhès, Aveyron West window from Saint-Urbain, Troyes, (about 1900) Revival During the mid- to late 19th century, many of Germany's ancient buildings were restored, and some, such as Cologne Cathedral, were completed in the medieval style. There was a great demand for stained glass. The designs for many windows were based directly on the work of famous engravers such as Albrecht Dürer. Original designs often imitate this style. Much 19th-century German glass has large sections of painted detail rather than outlines and details dependent on the lead. The Royal Bavarian Glass Painting Studio was founded by Ludwig I in 1827.[15] A major firm was Mayer of Munich, which commenced glass production in 1860, and is still operating as Franz Mayer of Munich, Inc.. German stained glass found a market across Europe, in America and Australia. Stained glass studios were also founded in Italy and Belgium at this time.[15] In the Austrian Empire and later Austria-Hungary, one of the leading stained glass artists was Carl Geyling, who founded his studio in 1841. His son would continue the tradition as Carl Geyling's Erben, which still exists today. Carl Geyling's Erben completed numerous stained glass windows for major churches in Vienna and elsewhere, and received an Imperial and Royal Warrant of Appointment from emperor Franz Joseph I of Austria. One of five windows donated to Cologne Cathedral by Ludwig II Ghent Cathedral, Belgium A window in the Late Gothic style, St Maurice's Church, Olomouc, Czech Republic, early 20th century Innovations in Britain and Europe Among the most innovative English designers were the Pre-Raphaelites, William Morris (1834–1898) and Edward Burne-Jones (1833–1898), whose work heralds the influential Arts & Crafts Movement, which regenerated stained glass throughout the English-speaking world. Amongst its most important exponents in England was Christopher Whall (1849-1924), author of the classic craft manual 'Stained Glass Work' (published London and New York, 1905), who advocated the direct involvement of designers in the making of their windows. His masterpiece is the series of windows (1898-1910) in the Lady Chapel at Gloucester Cathedral. Whall taught at London's Royal College of Art and Central School of Arts and Crafts: his many pupils and followers included Karl Parsons, Mary Lowndes, Henry Payne, Caroline Townshend, Veronica Whall (his daughter) and Paul Woodroffe.[16] The Scottish artist Douglas Strachan (1875-1950), who was much influenced by Whall's example, developed the Arts & Crafts idiom in an expressionist manner, in which powerful imagery and meticulous technique are masterfully combined. In Ireland, a generation of young artists taught by Whall's pupil Alfred Child at Dublin's Metropolitan School of Art created a distinctive national school of stained glass: its leading representatives were Wilhelmina Geddes, Michael Healy and Harry Clarke. Art Nouveau or Belle Epoque stained glass design flourished in France, and Eastern Europe, where it can be identified by the use of curving, sinuous lines in the lead, and swirling motifs. In France it is seen in the work of Francis Chigot of Limoges. In Britain it appears in the refined and formal leadlight designs of Charles Rennie Mackintosh. David's charge to Solomon shows the strongly linear design and use of flashed glass for which Burne-Jones' designs are famous. Trinity Church, Boston, US, (1882) God the Creator by Stanislaw Wyspianski, this window has no glass painting, but relies entirely on leadlines and skilful placement of colour and tone. Franciscan Church, Kraków (c. 1900) Window by Alfons Mucha, Saint Vitus Cathedral Prague, has a montage of images, rather than a tightly organised visual structure, creating an Expressionistic effect. Art Nouveau by Jacques Grüber, the glass harmonising with the curving architectural forms that surround it, Musée de l'École de Nancy (1904). Innovations in the United States Main article: Tiffany glass J&R Lamb Studios, established in 1857 in New York City, was the first major decorative arts studio in the United States and for many years a major producer of ecclesiastical stained glass. Notable American practitioners include John La Farge (1835–1910), who invented opalescent glass and for which he received a U.S. patent on 24 February 1880, and Louis Comfort Tiffany (1848–1933), who received several patents for variations of the same opalescent process in November of the same year and he used the copper foil method as an alternative to lead in some windows, lamps and other decorations. Sanford Bray of Boston patented the use of copper foil in stained glass in 1886,https://patents.google.com/patent/US349424A/en However, a reaction against the aesthetics and technique of opalescent windows - led initially by architects such as Ralph Adams Cram - led to a rediscovery of traditional stained glass in the early 1900s. Charles J. Connick (1875-1945), who founded his Boston studio in 1913, was profoundly influenced by his study of medieval stained glass in Europe and by the Arts & Crafts philosophy of Englishman Christopher Whall. Connick created hundreds of windows throughout the US, including major glazing schemes at Princeton University Chapel (1927-9) and at Pittsburgh's Heinz Memorial Chapel (1937-8).[16] Other American artist-makers who espoused a medieval-inspired idiom included Nicola D'Ascenzo of Philadelphia, Wilbur Burnham and Reynolds, Francis & Rohnstock of Boston and Henry Wynd Young and J. Gordon Guthrie of New York. Many of the distinctive types of glass invented by Tiffany are demonstrated within this single small panel including "fracture-streamer glass" and "drapery glass". John La Farge, The Angel of Help, North Easton, MA shows the use of tiny panes contrasting with large areas of opalescent glass. Window restored by Victor Rothman Stained Glass, Yonkers NY Religion Enthroned, J&R Lamb Studios, designer Frederick Stymetz Lamb, c. 1900. Brooklyn Museum. Symmetrical design, "Aesthetic Style", a limited palette and extensive use of mottled glass. The Holy City by Louis Comfort Tiffany (1905). This 58-panel window has brilliant red, orange, and yellow etched glass for the sunrise, with textured glass used to create the effect of moving water. A trompe l'oeil glass c. 1884, Eugène Stanislas Oudinot, design Richard Morris Hunt, for home of Henry Gurdon Marquand, New York City. 20th and 21st centuries Many 19th-century firms failed early in the 20th century as the Gothic movement was superseded by newer styles. At the same time there were also some interesting developments where stained glass artists took studios in shared facilities. Examples include the Glass House in London set up by Mary Lowndes and Alfred J. Drury and An Túr Gloine in Dublin, which was run by Sarah Purser and included artists such as Harry Clarke. A revival occurred in the middle of the century because of a desire to restore thousands of church windows throughout Europe destroyed as a result of World War II bombing. German artists led the way. Much work of the period is mundane and often was not made by its designers, but industrially produced. Other artists sought to transform an ancient art form into a contemporary one, sometimes using traditional techniques while exploiting the medium of glass in innovative ways and in combination with different materials. The use of slab glass, a technique known as Dalle de Verre, where the glass is set in concrete or epoxy resin, was a 20th-century innovation credited to Jean Gaudin and brought to the UK by Pierre Fourmaintraux. One of the most prolific glass artists using this technique was the Dominican Friar Dom Charles Norris OSB of Buckfast Abbey. Gemmail, a technique developed by the French artist Jean Crotti in 1936 and perfected in the 1950s, is a type of stained glass where adjacent pieces of glass are overlapped without using lead cames to join the pieces, allowing for greater diversity and subtlety of colour.[17][18] Definition of Gemmail Many famous works by late 19th- and early 20th-century painters, notably Picasso, have been reproduced in gemmail.[19] A major exponent of this technique is the German artist Walter Womacka. Among the early well-known 20th-century artists who experimented with stained glass as an Abstract art form were Theo van Doesburg and Piet Mondrian. In the 1960s and 1970s the Expressionist painter Marc Chagall produced designs for many stained glass windows that are intensely coloured and crammed with symbolic details. Important 20th-century stained glass artists include John Hayward, Douglas Strachan, Ervin Bossanyi, Louis Davis, Wilhelmina Geddes, Karl Parsons, John Piper, Patrick Reyntiens, Johannes Schreiter, Judith Schaechter, Paul Woodroffe, Jean René Bazaine at Saint Séverin, Sergio de Castro at Couvrechef- La Folie (Caen), Hamburg-Dulsberg and Romont (Switzerland), and the Loire Studio of Gabriel Loire at Chartres. The west windows of England's Manchester Cathedral, by Tony Hollaway, are some of the most notable examples of symbolic work. In Germany, stained glass development continued with the inter-war work of Johan Thorn Prikker and Josef Albers, and the postwar achievements of Joachim Klos, Johannes Schreiter and Ludwig Shaffrath. Trends included the abandonment of figurative designs and of painting on glass in favour of a mix of biomorphic and rigorously geometric abstraction and the calligraphic non-functional use of leads.[20] The works of Ludwig Schaffrath demonstrate the late 20th-century trends in the use of stained glass for architectural purposes, filling entire walls with coloured and textured glass. In the 1970s young British stained-glass artists such as Brian Clarke were influenced by the large scale and abstraction in German twentieth-century glass.[20] In the UK, the professional organisation for stained glass artists has been the British Society of Master Glass Painters, founded in 1921. Since 1924 the BSMGP has published an annual journal, The Journal of Stained Glass. It continues to be Britain's only organisation devoted exclusively to the art and craft of stained glass. From the outset, its chief objectives have been to promote and encourage high standards in stained glass painting and staining, to act as a locus for the exchange of information and ideas within the stained glass craft and to preserve the invaluable stained glass heritage of Britain. See www.bsmgp.org.uk for a range of stained glass lectures, conferences, tours, portfolios of recent stained glass commissions by members, and information on courses and the conservation of stained glass. Back issues of The Journal of Stained Glass are listed and there is a searchable index for stained glass articles, an invaluable resource for stained glass researchers. After the First World War, stained glass window memorials were a popular choice among wealthier families, examples can be found in churches across the UK. In the United States, there is a 100-year-old trade organization, The Stained Glass Association of America, whose purpose is to function as a publicly recognized organization to assure survival of the craft by offering guidelines, instruction and training to craftspersons. The SGAA also sees its role as defending and protecting its craft against regulations that might restrict its freedom as an architectural art form. The current president is Kathy Bernard. Today there are academic establishments that teach the traditional skills. One of these is Florida State University's Master Craftsman Program, which recently completed a 30 ft (9.1 m) high stained-glass windows, designed by Robert Bischoff, the program's director, and Jo Ann, his wife and installed to overlook Bobby Bowden Field at Doak Campbell Stadium. The Roots of Knowledge installation at Utah Valley University in Orem, Utah is 200 feet (61 m) long and has been compared to those in several European cathedrals, including the Cologne Cathedral in Germany, Sainte-Chapelle in France, and York Minster in England.[21] De Stijl abstraction by Theo van Doesburg, Netherlands (1917) Expressionist window by Marc Chagall, at All Saints' Church, Tudeley, Kent, UK Christ of the Eucharist designed by Dom Charles Norris from Buckfast Abbey, Devon, England, slab glass. One of four 64-metre (210 ft)-high stained glass panels, Rio de Janeiro Cathedral, Brazil Sergio de Castro, detail of Jonah window for the Collegiate of Romont Switzerland. Postmodernist symbolism, Tree of Life at Christinae church, Alingsås, Sweden. The Bald Eagle, from commercial studios working with traditional techniques, Dryden High School, USA Thin slices of agate set into lead and glass, Grossmünster, Zürich, Switzerland, by Sigmar Polke (2009) Combining ancient and modern traditions Mid-20th-century window showing a continuation of ancient and 19th-century methods applied to a modern historical subject. Florence Nightingale window at St Peters, Derby, made for the Derbyshire Royal Infirmary Figurative design using the lead lines and minimal glass paint in the 13th-century manner combined with the texture of Cathedral glass, Ins, Switzerland St Michael and the Devil at the church of St Michael Paternoster Row, by English artist John Hayward combines traditional methods with a distinctive use of shard-like sections of glass. Buildings incorporating stained glass windows Churches Stained glass windows were commonly used in churches for decorative and informative purposes. Many windows are donated to churches by members of the congregation as memorials of loved ones. For more information on the use of stained glass to depict religious subjects, see Poor Man's Bible. Important examples Cathedral of Chartres, in France, 11th- to 13th-century glass Canterbury Cathedral, in England, 12th to 15th century plus 19th- and 20th-century glass York Minster, in England, 11th- to 15th-century glass Sainte-Chapelle, in Paris, 13th- and 14th-century glass Florence Cathedral, Italy, 15th-century glass designed by Uccello, Donatello and Ghiberti St. Andrew's Cathedral, Sydney, Australia, early complete cycle of 19th-century glass, Hardman of Birmingham. Fribourg Cathedral, Switzerland, complete cycle of glass 1896-1936, by Józef Mehoffer Coventry Cathedral, England, mid-20th-century glass by various designers, the large baptistry window being by John Piper Brown Memorial Presbyterian Church, extensive collection of windows by Louis Comfort Tiffany Synagogues In addition to Christian churches, stained glass windows have been incorporated into Jewish temple architecture for centuries. Jewish communities in the United States saw this emergence in the mid-19th century, with such notable examples as the sanctuary depiction of the Ten Commandments in New York's Congregation Anshi Chesed. From the mid-20th century to the present, stained glass windows have been a ubiquitous feature of American synagogue architecture. Styles and themes for synagogue stained glass artwork are as diverse as their church counterparts. As with churches, synagogue stained glass windows are often dedicated by member families in exchange for major financial contributions to the institution. Places of worship The dazzling display of medieval glass at Sainte-Chapelle, Paris The chancel windows of the Church of Our Lady, Koblenz, Germany Sunlight shining through stained glass onto coloured carpet of Nasir ol Molk Mosque Interior of the Blue Mosque, Istanbul. Stained glass windows in the Mosque of Srinagar, Kashmir St. Andrew's Cathedral, Sydney has a cycle of 19th-century windows by Hardman of Birmingham


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