Glass Art - November/December 2001
Variations on a Theme
The window glows in the afternoon light: a field of hand-made blue and green glass, shot through with flowing, opaque white. The colors catch and play with the sun, seeming to bear aloft a small, unbelievably intense patch of red. The effect is breathtaking; the feeling, transcendent.
“It’s lovely! What is it about?”
The question follows as naturally as summer follows spring: It’s a normal human tendency to look for the meaning in artwork, and stained glass is no exception; in fact, if anything, it seems to bring this out in people.
Stories and themes have been a part of stained glass throughout most of its history. Over time, their role and importance have varied with the prevailing artistic fashions. Sometimes, the theme has been central to the appreciation of the window; other times, as in the massive rose windows of the great cathedrals, it has served more to add visual texture to the windows than to deliver an actual message. These windows are too far away for any details to be read, so the real “story,” as it were, is the monumental burst of color and light that is the window itself.
The passage of time has also seen many changes in how themes were expressed, beginning with iconic figures, and evolving (if that’s the right word) towards elaborate literal depictions of biblical events. The latter approach was popular in the Victorian era, where the windows tried to bring the Bible and its personages to life - to give the sense that they were there in the church, watching over the congregation. (Granted, this may be comforting; but the trouble is that windows in this style are still being installed today, using copies of the same sentimental paintings!)
The use of stylized images to portray themes and stories has been another thread that runs through the history of stained glass. Over the past several decades, this approach has expanded in new and imaginative ways. Beginning with the Art Nouveau movement at the turn of the century, and accelerating in the modern era, stained glass artists have explored many different ways to tell stories in stained glass, using symbols, various types of stylization (some borrowed from other media) and abstract compositions.
There is a complex interrelationship between the subject of a window - its theme or meaning - and the artistic expression that seeks to portray it. At its best, the theme of a window provides it with an added dimension; one that for many people at least as important as the more tangible elements of light, color, form, and architectural context. Although this applies most obviously to religious art, it can in fact be an important factor in any commission, whether for a public space, a corporate setting, or a private home. The theme is the vehicle by which meaning and depth can be brought into a window, allowing the artist to weave history, faith, ideas and stories into an already-rich mixture of color and light. When done right, the overall effect can be magnificent.
The power of themes, while a wonderful resource for the artist, can also be a source of difficulty. Clients who don’t know the first thing about art, and are happy to admit it, feel they are on much more solid ground when they are talking about the subject(s) they want portrayed in the window. Too often, the desire to see a particular topic included in the window is tightly linked with a rather narrow idea of how that topic should be expressed.
This is not too serious a problem if the expression happens to be in line with the artist’s judgement and intentions. If it isn’t, the artist will need to work with the client, to try to bring them to an understanding of why that particular approach won’t work. The success of window depends on the essential balances between its many elements in addition to the theme, among them colour, form, style and context. Too much focus on one element to the exclusion of the others will hinder the artistic development of a window. In a conflict of agendas, it is easy to lose the art entirely.
Although the client is usually the one to suggest the theme, it is the responsibility of the artist to choose the best way to express it, so that it will suit the building, the glass, the available light, the intended users of the space. Simply put: If there is to be a thematic content in a stained glass window, it should be expressed in such a way that it strengthens the art. This should be kept in mind during all stages in the creation of the window.
Initial Discussions
One of the topics of the initial discussions on a window project is what the major themes of the work will be. This is a good time for the artist to explore what the client’s expectations are, as well as the amount of space there is for movement and compromise. Congregations will usually come to the table with themes already in mind. Some corporate clients will too, but here there may be more chances for the artist to have input.
Once the expectations are understood, the artist must decide whether or not they are comfortable with the intended themes, and can express them artistically. This decision should not be taken lightly. If an artist is unsympathetic with the topic of the window, it will show. There has to be at least some part of the theme they can relate to.
In terms of artistic expression, problems can also arise when the client has preconceived notions of how things should be done. It’s important for the artist and the client to settle outstanding issues before getting too far into the job. In these negotiations, the artist can use some compelling reasons to support more modern design approaches, among them:
- Older artistic styles were developed for a particular architectural setting, and don’t work well in modern buildings.
- Congregations are different too. People today are constantly bombarded with media images, and aren’t necessarily looking for representative art in their places of worship. Much has happened in the art world since Victorian times, and moderns viewers can appreciate more contemporary art forms. We should respect their intelligence and imagination.
- The changes we see today will continue. Visual literacy will increase, and future generations will want to see work that challenges and interests them. This artwork will be our legacy to them.
Although the reasons can be given, there’s no guarantee they will be accepted. The farther away the client is from the artist’s vision and style, the more work there is to do. If there is too much distance, and the chances for success are slim, the effort may not be worth it. The artist should have a sense of his or her “bottom line” issues; those ideas and beliefs about art that will not be compromised in the negotiations for a job. It’s hard to walk away from a job, but sometimes it’s the only thing to do. The windows we do will represent us for decades, and even centuries to come.
Designing
During the design process, the window’s thematic content is considered, along with the many other elements of design. Unless the artist is already familiar with the themes he or she is working with, some research will be called for. This can take many forms, depending on the client and the topic. The goal is to learn more about the theme, how it fits into the broader context of the client’s beliefs or corporate purpose, and perhaps how it has been expressed in the past. The may be done through library research, discussions with the client, or consultation with knowledgeable people outside of the process.
In terms of the specific expression of the theme, depends on the artist’s individual vision, and is beyond the scope of this article. Still, there are some general principles that should be kept in mind, depending on the style of the window:
When doing representational windows, the artist should try to bring something new to the job. Every window created should represent a step forward for the art of stained glass. The artist should avoid the temptation to use overly literal representation. Glass is a long-term medium, and for the sake of artistic integrity and reputation, the artist’s best contribution will be to either make something new, or bring something new to an older form.
If the client insists on a literal depiction, there is another alternative, and that is to bring this element into the window, but within the context of a larger and more interesting design. Sometimes it’s enough for the client just to see the symbols or the pictures they want, even if they are in a very modern context.
Outside of the narrow world of literal depictions, the artist has a wide palette of techniques for portraying themes, stories and ideas. A look through some of the stained glass publications from Europe, the UK and the US can give an idea of the possibilities. Stylized figures, shapes, and symbols can be very beautiful and evocative.
With abstract work, the possibilities are almost unlimited, and this can be both a blessing and a challenge. At its best, this is art that requires thought and imagination, and presents an ongoing challenge to intrigue and delight the viewer over the years. Of course, to be worthy of this, the art itself has to be thoughtful, imaginative, and challenging. There is weak abstract art, just as there is weak figurative art. It’s important to be able to know the difference, and this is best learned by looking at lots of examples; both on-site, and in publications.
Themes and stories have played many roles in the art of stained glass, among them: providing inspiration, adding layers of meaning or a spiritual dimension to a window, and supplying a focus for the artistry in the window. At the same time, as a strong element in the creation of the window, they can end up hindering the development of the artistic direction. It is up to the artist to hold firm on the artistic decisions on how the theme will be portrayed. Great art demands it.
