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Theorem stencil, sometimes also called theorem painting or velvet painting, is the art of making stencils and using them to make drawings or paintings on fabric or paper. [ 1 ] A vogue for theorem stencil painting began in England at the turn of the 18th century and through the mid-1800s. [ 2 ]
The most common method of adding the black linear painting necessary to define stained glass images is the use of what is variously called "glass paint", "vitreous paint", or "grisaille paint". This was applied as a mixture of powdered glass, iron or rust filings to give a black colour, clay, and oil, vinegar or water for a brushable texture ...
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]
A related technique (which has found applicability in some surrealist compositions) is aerography, in which spray-painting is done around a three-dimensional object to create a negative of the object instead of a positive of a stencil design. This technique was used in cave paintings dating to 10,000 BC, where human hands were used in painting ...
The process of silver staining also was developed. The outside of the glass would have coloring of silver stain, while the artist painted the figures on the inside. The artist could employ several different colors and shades on a single pane of glass. [20] The techniques of painting on the glass also improved.
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Medieval stained glass is the colored and painted glass of medieval Europe from the 10th century to the 16th century. For much of this period stained glass windows were the major pictorial art form, particularly in northern France, Germany and England, where windows tended to be larger than in southern Europe (in Italy, for example, frescos were more common).
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