| Peer-Reviewed

A Study of the Contemporary Portuguese Stained Glass: Artists and Works

Received: 20 February 2021     Accepted: 18 March 2021     Published: 30 April 2021
Views:       Downloads:
Abstract

The qualities of glass as transparency, translucence, brightness and versatility for the various applications, practical and aesthetics make this material indispensable for the artistic creation with a close connection with architecture. In an historical approach this paper will succinctly study the tradition and charisma of this light material, giving special credit to the stained glass, demonstrate the emerge of this Art in the relation with architecture, concerning the Portuguese contemporary panorama. Portugal has a history regarding contemporary stained glass that is unknown. In the 20th century we assist to an interest and development in this art, as many recognized Portuguese artist, painters and sculptures contribute to this mural art, conceiving cartoons and maquettes that would be produce in glass studios, some of them in Portugal, in a close relationship between artists and craftsmen. Born in association with architecture, stained glass is much more than a simple decoration of space, it is an integral part of the architectural building. This paper will focus on the production of stained glass in Portugal, showing some significant examples of works produced by Portuguese renowned artists. Colorful windows with grisailles paintings in an association between color and light will be presented, and also the changes that happen during the 20th and 21st centuries, clarifying the state of Portuguese stained glass.

Published in International Journal of Architecture, Arts and Applications (Volume 7, Issue 2)
DOI 10.11648/j.ijaaa.20210702.11
Page(s) 24-32
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2021. Published by Science Publishing Group

Keywords

Stained Glass, Portuguese Artists, Case Studies, Glass and Architecture

References
[1] P. J. E. Davis, W. B. Denny, F. F. Hofrichter, J. Jacobs, A. M. Roberts, D. L. Simon, Janson New History of Art, The occident tradition (trad: A Nova História da Arte de Janson. A tradição ocidental), 9th edition, Calouste Gulbenkian Foundation, 2010.
[2] L. Lee, G. Seddon, F. Stephens, Stained Glass. Mitchell Beazley Publishers, 1976.
[3] Almeida, T. Tansparent painting in Laranjo, F; Loureiro, D.; Torres, S.; Almeida, T. (2020); Painting Today: New approaches on process and context, Research Institute on Art, Design and Society. Porto, Portugal.
[4] P. Redol, O mosteiro da Batalha e o vitral em Portugal no século XV e XVI. Batalha Town hall, 2003.
[5] C. Barros, O vitral em Portugal. Séculos XV-XVI. Lisbon: National Press - Mint (Imprensa Nacional – Casa da Moeda), second edition, 1988.
[6] D. F. Ferraz, “A oficina de Ricardo Leone” in O vitral-História, Conservação e Restauro. Lisbon: IPPAR, 2000.
[7] T. Almeida, O vidro como material plástico: transparência, luz cor e expressão. PHD thesis in Aveiro University, Department of Art and Communication, 2011.
[8] Vitorino, Manuel. 2008. Aluz voltou à mais antiga oficina de vitrais. In Newspaper (Jornal de notícias), sunday 19: 18.
[9] Newspaper (Jornal de Noticias e Século): 1927.
[10] Lara, Regina; Almeida, Teresa. (2017). The creative process of applying grisaille in stained glass. Glassac. 5th International Conference on Glass science in Art and conservation, June 2017: 31-33.
[11] R. A. Santos, “Apontamentos para a história do vitral no século xx” in O vitral- História, Conservação e Restauro. Lisbon: IPPAR, 2000.
[12] M. A. Maia, Maria Augusta, Almada Negreiros, Um percurso possível. Instituto Português do Património Arquitectónico e Arqueológico. Lisbon: National Press - Mint (Impressa Nacional, Casa da Moeda,) 1993.
[13] S. Vieira, Sérgio “Nery: A inefável geometricidade da luz colorida”, in Eduardo Nery, Exposição Retrospectiva Tapeçaria, Azulejo, Mosaico, Vitral [1961-2003], IPM, 2003.
[14] C. Araújo, Os Vitrais de Júlio Resende na Igreja de Nossa Senhora da Boavista – Porto. Uma leitura teológica, um itinerário espiritual e catequético, como proposta de evangelização. Master thesis in Teologia. Cattolica University, 2019.
[15] S. C. Silva, Júlio Pomar e os vitrais da Igreja da Sagrada Família. Pontinha Parish Council (Junta de Freguesia).
[16] M. Dionísio, Pomar. Europe-America Publications (Publicações Europa-América), 1990.
[17] Boletim da direção-geral dos edifícios e monumentos nacionais. Paço dos Duques de Bragança Guimarães, n120, 1960.
[18] Pascoal, Ana Mehnert. António Lino e a decoração artística para edifícios públicos durante o Estado Novo. In https://www.amap.pt/static/uploads/c/bth/2018/bth2018_1.pdfacess on 5.02.21
[19] M. Brito, 2003. Paço dos Duques de Bragança em Guimarães: metamorfose da imagem na época Contemporânea. Master thesis in History Department, School of Arts and Humanities, Lisbon.
[20] A. Lino, António. “A arte na Idade Média”, Separata especial from Volume IV of proceedings from Congresso Histórico de Guimarães e a sua Colegiada. Barrosa & Xavier, 1982.
[21] S. Vieira, Para a história do vitral em Portugal no século XX- Principais oficinas e o papel dos artistas plásticos. Lisboa: Universidade Nova de Lisboa, 2002. Master thesis in Contemporary Art History Department, Nova School of Arts and Humanities, Lisbon.
[22] Castro, Laura. Júlio Resende, ceramic art. National Tile Museum (Museu Nacional do azulejo), 1998.
[23] Porfírio, José Luís. Júlio Resende: As grandes decorações azulejares da Ribeira Negra e do Metropolitanao de sete rios in Castro, Laura. Júlio Resende, ceramic art, National Tile Museum (Museu Nacional do azulejo,) 1998:19-28.
[24] J. Matoso, José, R. H. Silva, S. Leandro, M. Tamagnini, D. Costa. Lino António (1898-1974), Leiria Town Hall (Câmara Municipal de Leiria), 1998: 23-37.
[25] E. Rodigues, “A luz através do texto divino” in Vitrais da Igreja de São Domingos, Vila Real Cathedral. IPPAR, Lisbon, 2003: 37-59.
[26] D. J. Gonçalves, “Os vitrais da Sé de Vila Real”, in Vitrais da Igreja de São Domingos, Vila Real Cathedral. IPPAR, Lisbon, 2003: 9-31.
[27] J. Vieira in Vitrais da Igreja de São Domingos, Vila Real Cathedral. IPPAR, Lisbon, 2003: 61, 62.
Cite This Article
  • APA Style

    Teresa Almeida. (2021). A Study of the Contemporary Portuguese Stained Glass: Artists and Works. International Journal of Architecture, Arts and Applications, 7(2), 24-32. https://doi.org/10.11648/j.ijaaa.20210702.11

    Copy | Download

    ACS Style

    Teresa Almeida. A Study of the Contemporary Portuguese Stained Glass: Artists and Works. Int. J. Archit. Arts Appl. 2021, 7(2), 24-32. doi: 10.11648/j.ijaaa.20210702.11

    Copy | Download

    AMA Style

    Teresa Almeida. A Study of the Contemporary Portuguese Stained Glass: Artists and Works. Int J Archit Arts Appl. 2021;7(2):24-32. doi: 10.11648/j.ijaaa.20210702.11

    Copy | Download

  • @article{10.11648/j.ijaaa.20210702.11,
      author = {Teresa Almeida},
      title = {A Study of the Contemporary Portuguese Stained Glass: Artists and Works},
      journal = {International Journal of Architecture, Arts and Applications},
      volume = {7},
      number = {2},
      pages = {24-32},
      doi = {10.11648/j.ijaaa.20210702.11},
      url = {https://doi.org/10.11648/j.ijaaa.20210702.11},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijaaa.20210702.11},
      abstract = {The qualities of glass as transparency, translucence, brightness and versatility for the various applications, practical and aesthetics make this material indispensable for the artistic creation with a close connection with architecture. In an historical approach this paper will succinctly study the tradition and charisma of this light material, giving special credit to the stained glass, demonstrate the emerge of this Art in the relation with architecture, concerning the Portuguese contemporary panorama. Portugal has a history regarding contemporary stained glass that is unknown. In the 20th century we assist to an interest and development in this art, as many recognized Portuguese artist, painters and sculptures contribute to this mural art, conceiving cartoons and maquettes that would be produce in glass studios, some of them in Portugal, in a close relationship between artists and craftsmen. Born in association with architecture, stained glass is much more than a simple decoration of space, it is an integral part of the architectural building. This paper will focus on the production of stained glass in Portugal, showing some significant examples of works produced by Portuguese renowned artists. Colorful windows with grisailles paintings in an association between color and light will be presented, and also the changes that happen during the 20th and 21st centuries, clarifying the state of Portuguese stained glass.},
     year = {2021}
    }
    

    Copy | Download

  • TY  - JOUR
    T1  - A Study of the Contemporary Portuguese Stained Glass: Artists and Works
    AU  - Teresa Almeida
    Y1  - 2021/04/30
    PY  - 2021
    N1  - https://doi.org/10.11648/j.ijaaa.20210702.11
    DO  - 10.11648/j.ijaaa.20210702.11
    T2  - International Journal of Architecture, Arts and Applications
    JF  - International Journal of Architecture, Arts and Applications
    JO  - International Journal of Architecture, Arts and Applications
    SP  - 24
    EP  - 32
    PB  - Science Publishing Group
    SN  - 2472-1131
    UR  - https://doi.org/10.11648/j.ijaaa.20210702.11
    AB  - The qualities of glass as transparency, translucence, brightness and versatility for the various applications, practical and aesthetics make this material indispensable for the artistic creation with a close connection with architecture. In an historical approach this paper will succinctly study the tradition and charisma of this light material, giving special credit to the stained glass, demonstrate the emerge of this Art in the relation with architecture, concerning the Portuguese contemporary panorama. Portugal has a history regarding contemporary stained glass that is unknown. In the 20th century we assist to an interest and development in this art, as many recognized Portuguese artist, painters and sculptures contribute to this mural art, conceiving cartoons and maquettes that would be produce in glass studios, some of them in Portugal, in a close relationship between artists and craftsmen. Born in association with architecture, stained glass is much more than a simple decoration of space, it is an integral part of the architectural building. This paper will focus on the production of stained glass in Portugal, showing some significant examples of works produced by Portuguese renowned artists. Colorful windows with grisailles paintings in an association between color and light will be presented, and also the changes that happen during the 20th and 21st centuries, clarifying the state of Portuguese stained glass.
    VL  - 7
    IS  - 2
    ER  - 

    Copy | Download

Author Information
  • Vicarte Research Unit “Glass and Ceramics for the Art”, Nova School of Science & Technology, Lisbon, Portugal

  • Sections