The Arts
April 2018
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- Stained glass: artworksx
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The ArtsApril 2018Windows for the world
Nineteenth-century stained glass and the international exhibitions, 1851–1900
by Jasmine Allen, Bill Sherman, Christopher Breward
Introduction 1. Exhibiting stained glass: classification, organisation and status 2. A multitude of displays 3. Stylistic eclecticism in nineteenth-century stained glass 4. Competition and exchange: exhibitors and their networks 5. Stained glass as propaganda Conclusion: Reappraising nineteenth-century stained glass Appendix Bibliography Index
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Trusted Partner
The ArtsApril 2018Windows for the world
Nineteenth-century stained glass and the international exhibitions, 1851–1900
by Jasmine Allen, Bill Sherman, Christopher Breward
Windows for the world focuses on the display and reception of nineteenth-century British stained glass in a secular exhibition context. International in scope, the book focuses on the global development of stained glass in this period as showcased at, and influenced by, these exhibitions. The book recognises those who made and exhibited stained glass for display at the international exhibitions, and demonstrates the long-lasting impact of the classification and modes of displaying stained glass at these events. A number of stained glass exhibits are illustrated in colour and are analysed in relation to stylistic developments, techniques and material innovations, as well as the broader iconographies of nation and empire in the nineteenth century. Windows for the world will appeal to those interested in the history of stained glass as well as nineteenth-century history, art and architecture.
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Trusted Partner
The ArtsOctober 2023Windows for the world
Nineteenth-century stained glass and the international exhibitions, 1851–1900
by Jasmine Allen
Windows for the world explores the display and reception of nineteenth-century British stained glass in a secular exhibition context. International in scope, the book focuses on the global development of stained glass in this period as showcased at, and influenced by, these exhibitions. It recognises those who made and exhibited stained glass and demonstrates the long-lasting impact of the classification and modes of display at these events. A number of exhibits are illustrated in colour and are analysed in relation to stylistic developments, techniques and material innovations, as well as the broader iconographies of nation and empire in the nineteenth century.
