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Thomas Augustin "Gus" O'Shaughnessy (1870-1956) was an Irish American Celtic Revival designer from Missouri who worked primarily in stained glass.He was employed as a Chicago Daily News staff artist and had earlier studied under stained glass master Louis Millet at the Art Institute of Chicago, then traveled to Europe to perfect his art.
The method employed to create red stained glass is to laminate a thin layer of red glass to a thicker body of glass that is clear or lightly tinted, forming "flashed glass". A lightly coloured molten gather is dipped into a pot of molten red glass, which is then blown into a sheet of laminated glass using either the cylinder (muff) or the crown ...
Rippled glass refers to textured glass with marked surface waves. [1] Louis Comfort Tiffany made use of such textured glass to represent, for example, water or leaf veins. The texture is created during the glass sheet-forming process. A sheet is formed from molten glass with a roller that spins on itself, while travelling forward.
186 etched glass at Bankfield Museum. Glass etching, or "French embossing", is a popular technique developed during the mid-1800s that is still widely used in both residential and commercial spaces today. Glass etching comprises the techniques of creating art on the surface of glass by applying acidic, caustic, or abrasive substances.
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The molten glass was poured into a mold of wood or stone to make a sheet of glass. The texture of the mold material would be picked up by the glass. By the time stained glass was being made, the glassblowing pipe was in common use, so hand-blown (or mouth-blown) sheets were made by the cylinder glass and/or crown glass method.
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]
The use of thicker glass produces deeper colour effects than traditional lead came stained-glass, especially when illuminated by bright natural or artificial light. [ 1 ] [ 2 ] The technique achieved prominence in the stained glass literature of the 1950s and 1960s.