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The term "stained glass" commonly precedes "window" and is thus linked to architecture both linguistically and conceptually. The autonomous work is more like a painting than a stained glass window, and is a non-traditional use of the medium. [1] One critic somewhat pejoratively calls non-architectural stained glass "uncommissioned panels."
Stained glass is colored glass as a material or works created from it. Although, it is traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture.
G. Owen Bonawit (1891–1971) was an artist whose studio created thousands of pieces of stained glass for Yale, Duke, Northwestern, and Southeast Missouri State universities; Connecticut College; Bethesda By The Sea Episcopal Church in Palm Beach, Florida [1] and at private homes.
The resulting solid panel is quite durable and appropriate for architectural settings or outdoor panels. [ citation needed ] The use of thicker glass produces deeper colour effects than traditional lead came stained-glass, especially when illuminated by bright natural or artificial light.
Came glasswork includes assembling pieces of cut and possibly painted glass using came sections. The joints where the came meet are soldered to bind the sections. When all of the glass pieces have been put within came and a border put around the entire work, pieces are cemented and supported as needed. [1]
However, it was later discovered that the wrong windows had in fact been identified as the Tiffany window and removed and stored; it was the George Park Fisher Memorial Windows by Clayton and Bell, twelve large stained glass panels in the stairway to the library, each depicting a group of "men of letters" representing an epoch in literary ...
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