Magistrinio darbo teorinėje dalyje nagrinėjama Lietuvos moderniosios architektūros ir vitražo tarpusavio ryšys, bei priklausomybė vienas nuo kito. Nuo XX a. 6-ojo dešimtmečio Lietuvoje užsimezgęs glaudus architektūros ir vitražo ryšys, kai vitražas tapo neatsiejama architektūros dalis, šiandieninėje visuomenėje yra visiškai pakitęs. Remiantis modeliuojamomis meninės raiškos priemonių atžvilgiu, darbe trumpai apžvelgiama architektūros ir vitražo raida nuo XX a. 6-ojo dešimtmečio iki šių dienų. Pateikta glausta apžvalga indentifikuoja vitražo priklausomybę nuo architektūrinių formų bei tendencingą jo kitimą priklausomai nuo vyrayjančių meno srovių šioje meno srityje. Tai pat pateikiami besikeičiančių meno srovių architektūros ir vitražų darbų pavyzdžiai Lietuvoje. Pagrindinę magistro teorinę dalį sudaro dvi architektūros ir vitražo simbiozės analizės, kurios nagrinėjamos formaliaja metodika. Pagrindiniu aspektu traktuojami kompoziciniai sprendimai ir jų poveikis bendrai meninei sąveikai. Analizuojami du visuomeninės paskirties architektūros objektai, kuriuose integruoti Lietuvos vitražistų stiklo darbai: Vilniaus Santuokų rūmų ir Eugenijaus Konstantino Šatūno stiklo darbai bei Nidos Švc. Mergelės Marijos krikščionių pagalbos bažnyčios ir Algirdo Dovydėno vitražai. Analizuojant dviejų meno šakų darnią simbiozę, dėmesys akcentuojamas į kompozicinę plastiką, jos tarpusavio panašumus ir skritumus, kurie turi įtakos lygiaverčiui architektūros ir vitražo užmegztam „pokalbiui“... [toliau žr. visą tekstą] / In the theoretical part of the work the main attention is put on the relation between modern Lithuanian architecture and stained glass. The work analyses how these two art forms influence and complement each other. From the 1950s stained glass became the integral part of architecture but nowadays this connection is completely changed. The main focus of the work is to show the evolution of architecture and stained glass from 1950s until today by analyzing formal elements, aesthetic principles and symbolic signs. The analysis represents stained glass dependence on architectural forms and dominant art tendencies. Various works of architecture and stained glass in Lithuania are also discussed as examples of these tendencies. The main theoretical part of the work is dedicated to analysis of symbiosis between architecture and stained glass from formal perspective. Firstly, the analysis deals with compositional solutions and their effect on general artistic interaction. The base of analysis are two buildings created for public use: Vilnius Santuokų rūmai and glass work by Konstantinas Šatūnas, Saint Mary Church in Nida and stained glass works by Algirdas Dovydėnas. Analysing the relation between two art forms, the emphasis is put on compositional expression, its differences and similiarities that influence the conversation between architecture and stained glass. The analysis is based not only on information found in specific literature and other sources but also on personal remarks... [to full text]

Thesis (M.Sc.). / Written for the Dept. of Atmospheric and Oceanic Sciences. Title from title page of PDF (viewed 2008/12/08). Includes bibliographical references.

No description available.

Á la fin du XVIIIe siècle, la technique du vitrail est menacée de disparition en France. En réaction, les tentatives en vue de retrouver les procédés de cet art se sont multipliées, aussi bien dans le milieu artistique que scientifique. Le but de cette thèse est de faire le point sur les avancées technologiques mises en œuvre pour la réalisation de vitraux au XIXᵉ siècle à travers l’étude de l’ensemble des brevets déposés au XIXᵉ siècle concernant les techniques de fabrication et de décoration du verre. Par l’étude de ces brevets, nous avons pu montrer que ces innovations ont été les plus nombreuses dans la seconde moitié du XIXᵉ, en relation avec la montée de la demande en vitraux. Les innovations sont de deux ordres : d’une part celles concernant la fabrication du verre et de verres spéciaux (coloré, opalescent, irisé, etc.), d’autre part celles concernant les techniques de décoration du verre (peintures vitrifiables, procédés de gravure et procédés d’impression). Les peintres verriers ont été des acteurs actifs pour le développement de ces innovations, comme en témoignent les brevets qu’ils ont déposés et les vitraux qu’ils ont réalisés avec ces nouvelles techniques. / At the end of the eighteenth century, the technique of stained glass was endangered in France. In response, attempts to rediscover this art process increased in both the artistic and scientific communities. The purpose of this thesis is to determine the technological advances for making stained glass that were implemented during the nineteenth century through the study of all patents submitted at this time for techniques of glass manufacture and decoration. By studying these patents, we have shown that these innovations were the most numerous in the second half of the nineteenth century, in connection with the rise in the demand for stained glass. Innovations are twofold: firstly those related to the manufacture of glass and special glass (colored, opalescent, iridescent, etc.); secondly those concerning glass decoration techniques (enamels, printing and engraving processes). Glass painters were active players in the development of these innovations, as evidenced by the number of patents they filed and the amount of stained glass work they produced with these new techniques.

This thesis deals with a dream. It is divided into two parts, theoretical and practical. The theoretical part consists of basic knowledge of the dream in terms of physiological and psychological. There is also mention the phenomenon of dreams as a source or subject in the historical development of visual arts. The theoretical part also discusses author?s personal relationship to dreams, the choice of materials, techniques and rationale for selection of space for indoor installation. Practical part of the author's realization of spatial stained glass plate combined with concrete. Workflow is completed the drawing designs and photographs.

Made available in DSpace on 2014-08-20T13:20:53Z (GMT). No. of bitstreams: 1 Mariana_Gaelzer_Wertheimer_Dissertacao.pdf: 14476243 bytes, checksum: 554b0d832fe6300fb5e78c25059e11c3 (MD5) Previous issue date: 2011-07-01 / In order to understand the manifestation of the stained glass art of the XX century in the city of Pelotas, it was necessary to acknowledge its general aspect, its evolution and historical processes, its technological and composing characteristics, as well as its degradation process. It was possible to identify thirteen stained glass examples in the central area of the city of Pelotas using a methodology of instrumental survey of cadastral records. The stained glass examples were analyzed according to formal and technological characteristics, and also aspects regarding its conservation and changes caused by the passage of time or by human intervention. The analysis showed different types of stained glasses considering either its iconography or its technological aspect. This survey of thirteen examples of stained glass carried out in the city of Pelotas showed that they represent the economic and cultural power of the city. Although there is a large gap it is possible to consider that the stained glasses represent a cultural manifestation with European influence although not related to the Portuguese tradition. As a symbol of economic and cultural progress of the city, its manufacture has not been very much changed through the years. The religious stained glasses identified date back to the medieval tradition, they represent the narrative and the mark of their donor. The profane ones have decorative characteristics representing floral or bucolic motifs related to the New Art tradition and the movements of Applied Arts / Para compreender a manifestação da arte do vitral do século XX na cidade de Pelotas, foi necessário conhecê-la em seu aspecto geral, seu processo evolutivo, histórico, suas características tecnológicas e compositivas, assim como seu processo de degradação. A partir de uma metodologia de levantamento instrumentalizado com fichas cadastrais, foi possível identificar treze exemplares de vitrais na zona central da cidade de Pelotas. Os exemplares foram analisados quanto as suas características formais e tecnológicas e, também, quanto aos aspectos de conservação e alterações causadas pela ação do tempo ou pela intervenção humana. A análise permitiu identificar diferentes tipologias de vitrais, que r seja sob o olhar tecnológico quer sob o olhar iconográfico. O levantamento dos exemplares de vitrais pelotenses, feito nesta pesquisa, mostrou serem estes representativos do poder econômico e cultural da cidade e que, apesar de grandes lacunas, pode-se considerar que estes representam uma manifestação cultural com influência europeia sem, no entanto, se vincular à tradição portuguesa, e que, sendo um símbolo de progresso econômico e social da cidade, sua manufatura pouco se alterou desde as suas origens. Os vitrais religiosos identificados remontam à tradição medieval da narrativa e da presença da marca dos doadores. Os vitrais profanos trazem características decorativas representando motivos florais ou bucólicos, vinculados à tradição da Arte Nova e dos movimentos de Artes Aplicadas

Cette thèse s'inscrit dans le cadre de l'étude des relations entre structure et propriétés des verres. La coloration des verres par les métaux de transition en est une des plus belles illustrations et sa compréhension constitue une étape fondamentale de l'étude des vitraux du Moyen Age. L'opportunité unique de la dépose des vitraux du XIIIe siècle de la Sainte-Chapelle de Paris a permis d'appliquer la démarche multidisciplinaire développée dans cette thèse pour comprendre la coloration des verres.Dans le au cas des verres bleus colorés par Co2+, ce travail a nécessité une démarche s’appuyant sur la spectroscopie fondamentale combinant des méthodes expérimentales (XANES et EXAFS au seuil K du cobalt et spectroscopie d'absorption optique) et théorique (calculs multiélectroniques dans l'approche en champ de ligand des pré-seuils K), pour mieux comprendre l'environnement local du Co2+ dans les verres. L'influence de la symétrie locale du site de Co2+ sur l'hybridation p-d et sa signature spectroscopique a été montrée grâce à des références cristallines. Les espèces penta-coordonnées ont pu alors être identifiées dans des verres modèles, nous permettant de proposer des modèles structuraux impliquant plusieurs espèces. Les proportions relatives de ses espèces sont contrôlées par les capacités de compensation de charge des cations du verre.Les deux principales nuances de bleu des verres du XIIIe siècle de la Sainte-Chapelle de Paris sont dues à Co2+ et Fe2+ tandis que le cuivre, également présent, est majoritairement monovalent et incolore, preuve des conditions réductrices de fabrication des verres de cette époque. / This thesis is part of the general framework of the study of structure-properties relationships in glasses. Understanding the coloring properties of transition metal ions in glass is an essential step in the study of Middle Age stained glass windows. The restoration work of the 13th century stained glass windows of the Holly Chapel of Paris provided a unique opportunity of apply the multidisciplinary approach of the question of glass color.In the particular case of blue glasses colored by, this study relied on a fundamental approach based on experimental (optical absorption, K-edge XANES and EXAFS spectroscopies) and theoretical tools (ligand field multiplet calculations of the pre-edge), to understand the local environment of Co2+ in glasses and the spectroscopic signature of Co2+ in unusual sites.The influence of the point group symmetry of Co site on the p-d hybridization and Co2+ spectroscopic signature was defined by comparison with crystalline references. Five-fold coordinated species have been identified in model glasses of simplified composition. This provided structural models based on 4-, 5- and 6-fold coordinated Co species for borate glasses and 4- and 5-fold coordinated Co species for silicate glasses, which are controlled by the charge compensating properties of the glass cations.Eventually, two main shades of blue have been identified in the 13th century glasses from the Holly Chapel of Paris, attributed to Co2+ and Fe2+, while, copper although present, mainly occurs as colorless Cu+, as a proof of reducing melting conditions. This provides first insights into the Middle Age glass manufacturing process.

The literature on the stained glass windows installed in the eight oculi of the drum of Santa Maria del Fiore are mainly found in the monographs of the four artists that provided the cartoons--Donatello, Lorenzo Ghiberti, Paolo Uccello, and Andrea del Castagno. Few studies have focused on the program in its entirety. This thesis will attempt to provide a more thorough understanding of the program. Analysis of the primary documents reveals how the windows functioned as part of the building and its liturgical and public life. In particular, the central argument is that Donatello's Coronation of the Virgin was a substitute for an altarpiece and the seven other windows act as subsidiary scenes that reinforce the primary window and its political and theological agenda. / Art History

This thesis studies the use of stained glass as a building material and how it can enhance the visual presence of light, materiality and space in a building interior. Lighting, color, and texture were integral paths of study which culminated in a stained glass installation at the concrete Cube at the Research + Design Facility in Blacksburg, Virginia. The resulting space becomes a room that reveals a dimension of architectural space not rarely studied or thought about when designing, revealing the way light continually shapes and defines a space throughout the seasons and time of day. The goal of the installation is to highlight ordinary conditions of light and space in a new light through color intervention of the interior. / Master of Architecture

Thesis (M.S.)--University of Oregon, 1999. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 189-195). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p1397797.