Dubbed the Cathedral of France and first church of French Christendom, the Gothic cathedral of Reims was the coronation site of more than two dozen French kings--and a target of German bombardment in World War I. Before 1914 its medieval stained glass had enjoyed the fame of Chartres and Bourges. The first extensive study focusing on the stained glass of this preeminent cathedral, The Gothic Stained Glass of Reims Cathedral offers a groundbreaking analysis of its glazing program. Through unique insights into the clerical agenda and its influence over a building devoted to the coronation of the French monarchy, Lillich considers the stained glass in the context of building chronology, political events, and artistic movements to present a completely new understanding of the stained glass of Reims.

For nearly two decades, Preston Singletary has straddled two unique cultures, melding his Tlingit ancestry with the dynamism of the Studio Glass Movement. In the process, he has created an extraordinarily distinctive and powerful body of work that depicts cultural and historical images in richly detailed, beautifully hued glass. Singletary has translated the visual vocabulary of patterns, narratives, and systems of Native woodcarving and painted art into glass, a material historically associated with Native peoples through an extensive network of trading routes. Singletary entered the world of glassblowing as an assistant, mastering the techniques of the European tradition as he worked alongside Seattle-area artists such as Benjamin Moore and Dante Marioni. He also had opportunities to learn the secrets of the Venetian glass masters while working with Italian legends Lino Tagliapietra and Pino Signoretto. The Northwest Native icons, supernatural beings, transformative themes, animal spirits, shamanism, and basketry design of Singletary's Tlingit heritage are manifested in his work, creating a unique whole that resonates on many levels and reveals a new artistic direction. This mid-career retrospective of his work includes contributions by Melissa G. Post, Steven Clay Brown, and Walter Porter, as well as a DVD of Singletary working in his studio. Preston Singletary's works are in museum collections around the world, including the National Museum of the American Indian; Museum of Fine Arts, Boston; Seattle Art Museum; Corning Museum of Glass; Mint Museum of Art; the Heard Museum; and the Handelsbanken (Stockholm, Sweden).

This luscious, colourful book contains 108 colour photographs of leaded glass window installations and 46 detailed line drawings rendered in a professional client proposal format. This collection is drawn from the studio designer's portfolio of McMow Art Glass covering more than 18 years of commissions. The styles include all aspects of leaded glass design from beveled panels to landscapes, but the spectacular entryways are particularly outstanding. This book is essential for all art glass libraries and will prove invaluable for architects, builders, interior designers, glass artists and ultimately for all lovers of leaded glass and design.

The Hosmer Collection is one of the most significant collections of secular pre-modern stained glass in North America and the largest in Canada. In contrast to the better-known stained glass works made for churches, these exquisite sixteenth- and seventeenth-century small panels were intended to grace the windows of private residences and other non-religious spaces. The first book-length treatment of pre-modern stained glass in Canada, this volume provides new information on the diverse subject matter (ranging from allegories to heraldic displays), provenance (the Low Countries and Switzerland), style, and dating. Each work receives a detailed treatment according to the criteria of the Corpus Vitrearum, the international organization which set the scrupulous standards for modern stained glass research, and is accompanied by photographs. The volume's introduction situates the collection both within the history of the medium and within the context of the architectural history and artistic environment of Montreal. Also structured as an on-site guide to the collection, The Stained Glass of the Hosmer Collection, McGill University breaks new ground on collecting practices, architectural design, and the installation of pre-modern stained glass in new buildings.

The touchstones of Gothic monumental art in France - the abbey church of Saint-Denis and the cathedrals of Chartres, Reims, and Bourges - form the core of this collection dedicated to the memory of Anne Prache. The essays reflect the impact of Prache's career, both as a scholar of wide-ranging interests and as a builder of bridges between the French and American academic communities. Thus the authors include scholars in France and the United States, both academics and museum professionals, while the thematic matrix of the book, divided into architecture, stained glass, and sculpture, reflects the multiple media explored by Prache during her long career. The essays employ a varied range of methodologies to explore Gothic monuments. The chapters in the architectural section include an intensive archeological analysis of the foundations of Reims Cathedral, the close reading of a late medieval literary text for a symbolic understanding of Paris, and essays that explore the medieval use of practical geometry in designing entire buildings and their components. Saint-Denis, Reims, and Chartres, all monuments studied by Prache, are discussed in the next part, on stained glass. These chapters demonstrate how old problems can be clarified by new evidence, whether from the accessibility of previously unknown archival information, for Reims, or through revelations that arise from restoration, at Chartres. These essays also include a study showing the complexity of making attributions for the storied glass of Saint-Denis. The final set of essays likewise takes different approaches to sculpture, whether constructing links to the liturgy at Reims, or discussing the meaning of a sculptural ensemble studied by Prache early in her career, the cloister of Notre-Dame-en-Vaux in ChAclons-en-Champagne, or scrupulously examining the faAade sculpture at Bourges Cathedral for insights into the design process. As a whole, the volume provides a window onto key directions in the study of

When she died in 1955, Geddes was described as 'the greatest stained glass artist of our time' whose monumental directness of treatment (whatever the scale) constituted 'a revival of the mediaeval genius'. Yet a full appreciation of her powerful figurative art was limited to a relative few. Although critics praised the deeply spiritual and uncompromising skill of her craftsmanship - 'Nowhere in modern glass is there a more striking example of a courageous adventure in the medium' (her 1919 Duke of Connaught War Memorial in Ottawa), her 'power of simplifying without loss of meaning' (her great Wallsend Crucifixion window of 1922), and 'the fine sensibility and deep intelligence' of her majestic 64-light Te Deum rose window to the king of the Belgians (1934-8) - her often out-of-the-way windows need to be seen in situ. Battling with ill health, like her better-known pupil and contemporary, Evie Hone, she became a major figure in the Irish Arts and Crafts movement and 20th-century British stained glass revival, a medieval-modernist of rare intellect, skill and aesthetic integrity. This profusely illustrated contextual study of her life and work draws on hitherto unpublished primary sources to represent her unique artistic achievement during the turbulence of two world wars.

Erwin Eisch, a pioneer of the international Studio Glass movement, has helped establish the medium in Europe. His distinctively distorted glass vessels and imaginative sculptures of mould-blown glass challenge the distinctions between art forms and between realism and abstraction. This book also includes Eischs paintings, drawings and vitreographic prints. This book provides an introduction to the artist, from his development within the glass-making tradition of the Bavarian Forest to the present. Eisch began with functional vessels, including bottles, vases and steins, often distorting the hot glass, incorporating ceramic moulds and producing painted glass sculptures. Eisch uses glass, painting, drawing and printed graphics to overcome the borders between picture and sculpture. His later output includes drawings, paintings and prints. Eischs works incorporate vivid elements of imagination and fantasy, which supplement the reality that inspires him. This book includes essays, contributions by experts on his work, more than one hundred illustrations of Eischs work, and selected writings by the artist himself.