DOI Artikel:
Schmidt, Walther: Contemporary stained glass windows / Über moderne Glasmalerei
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.7098#0154
Creative Hands
No.736
• The fact that now-a-days almost
every hue and shade of glass can
be produced for the creation of
Church Windows involves a cer-
tain danger for the artistic quality
of the stained glass art. A large
part of the uniform, carpetlike effect
of the old stained glass pictures
was dependent on the limited num-
ber of coloured glasses which could
be produced, and the fact that these
were restricted to moderate dimen-
sions.
• The small number of tints resulted
in the frequent repetition of the
same colour in stained glass pic-
ture, and thus conduced to the
creation of a beautifully harmo-
nious sheet. The small sizes of the
pieces of glass used necessitated
a close net-work of lead framing
which again enhanced the carpet-
like effect of the whole.
• To-day the artist is tempted to
employ too many colours and also
too large glasses, thus disturbing
the uniform surface of the glass pic-
ture. This, indeed, may not be a
serious disadvantage in the case
of glass Windows for a profane
building, but in creating Church
Windows the need for the closing-
in function of stained glass work
will always be decisive.
• It is therefore of the greatest im-
portance for the artist to restrict
himself in the choice of colours, or,
if he makes use of the füll ränge of
hues, he should not do so with the
intention of approaching a nat-
uralistic representation, but in Or-
der to enrich the"musical" interplay
of the colours. This rule applies
especially to large stained glass
pictures, such as the Golgatha win-
dow designed bytheMunich painter
Felix Baumhauer and executed by
the Stained Glass Studios of Mayer
Golgaiha ^ 'n wnose work the uniformity
• Design: Prof. Felix Baumhauer, Munich. Executed by Mayer & Co., Stained Glass Studios, Munich 0f fne surface has been preserved
^ Entwurf: Prof. Felix Baumhauer, München. Ausführung: Frz. Mayer'sche Hofkunstanstalt, München
(Deutscher Text siehe Seite 21) ln sPlte of a rlch scale °f Colours.
No.736
• The fact that now-a-days almost
every hue and shade of glass can
be produced for the creation of
Church Windows involves a cer-
tain danger for the artistic quality
of the stained glass art. A large
part of the uniform, carpetlike effect
of the old stained glass pictures
was dependent on the limited num-
ber of coloured glasses which could
be produced, and the fact that these
were restricted to moderate dimen-
sions.
• The small number of tints resulted
in the frequent repetition of the
same colour in stained glass pic-
ture, and thus conduced to the
creation of a beautifully harmo-
nious sheet. The small sizes of the
pieces of glass used necessitated
a close net-work of lead framing
which again enhanced the carpet-
like effect of the whole.
• To-day the artist is tempted to
employ too many colours and also
too large glasses, thus disturbing
the uniform surface of the glass pic-
ture. This, indeed, may not be a
serious disadvantage in the case
of glass Windows for a profane
building, but in creating Church
Windows the need for the closing-
in function of stained glass work
will always be decisive.
• It is therefore of the greatest im-
portance for the artist to restrict
himself in the choice of colours, or,
if he makes use of the füll ränge of
hues, he should not do so with the
intention of approaching a nat-
uralistic representation, but in Or-
der to enrich the"musical" interplay
of the colours. This rule applies
especially to large stained glass
pictures, such as the Golgatha win-
dow designed bytheMunich painter
Felix Baumhauer and executed by
the Stained Glass Studios of Mayer
Golgaiha ^ 'n wnose work the uniformity
• Design: Prof. Felix Baumhauer, Munich. Executed by Mayer & Co., Stained Glass Studios, Munich 0f fne surface has been preserved
^ Entwurf: Prof. Felix Baumhauer, München. Ausführung: Frz. Mayer'sche Hofkunstanstalt, München
(Deutscher Text siehe Seite 21) ln sPlte of a rlch scale °f Colours.