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The tradition of stained glass manufacture has continued, with mosques, palaces, and public spaces being decorated with stained glass throughout the Islamic world. The stained glass of Islam is generally non-pictorial and of purely geometric design, but may contain both floral motifs and text.
Ireland became an internationally renowned center of stained-glass art at this time, to a large extent as a result of An Túr Gloine. [7] The studio was run by Purser until 1940, and she was succeeded by Catherine O'Brien who ran it until 1944. [1] After which time O'Brien bought the studio and leased a large section of it to Patrick Pollen. [8]
One example is the stained glass window of the doorway of the Hôtel van Eetvelde in Brussels (1895). In France, Art Nouveau stained glass was used by Alphonse Mucha to decorate the interior of the jewelry shop of Georges Fouquet. The windows were made by Léon Fargues. The decor is now found in the Carnavalet Museum.
One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
Roots of Knowledge is a permanent stained glass display completed in 2016 at Utah Valley University (UVU) in Orem, Utah, United States. The creation of the exhibit was designed and overseen by stained glass artists Tom Holdman and Cameron Oscarson. It took over 12 years and cost US$4.5 million to complete.
Detail of Madonna and Child at Church of the Assumption, Bride Street, in Wexford, Ireland. Harry Clarke (1889–1931) was an Irish stained-glass artist and book illustrator.He produced more than 130 stained glass windows, he and his brother Walter having taken over his father's studio after his death in 1921. [1]
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