000			01855cam a2200205 4500500
005			20250123132851.0
041			_afre
042			_adc
100	1	0	_aHérold, Michel _eauthor
700	1	0	_a Loisel, Claudine _eauthor
700	1	0	_a Rellier, Adèle _eauthor
700	1	0	_a Trichereau, Barbara _eauthor
700	1	0	_a Guillot, Allain _eauthor
245	0	0	_aDe la verrerie au vitrail
260			_c2021.
500			_a83
520			_aWith other techniques, glass with mesh that was colored and sprinkled participated in the dazzling emergence of the art of stained glass windows at the end of the Middle Ages. Here it is somewhat demystified, especially because of the downfall of the legend of the Venetian origin. Now the reconstitution of the means of fabrication would place their production within the reach of any experienced glassmaker practicing muff blowing or cylinder glass. Nevertheless, the use of these materials remained relatively rare, characteristic of works benefitting from particular consideration. If they must be deemed as rare and “precious” it is not really because of their cost, but rather because they most often belong to stained glass windows conceived after painters’ cartoons, served by the high quality of the palettes of the glass. Their vivid brilliance makes them immediately noticed, “Venetian” glass mesh that illustrates the outcasts, the death, and the blood and sometimes also the celestial world, the rich materials, and the elements such as fire, are each time chosen in such a way that nothing can be qualified as random or “decorative”. They are simply in the service of the image and of the stained glass window.
786	0		_nRevue de l'art | 214 | 4 | 2021-12-23 | p. 54-69 | 0035-1326
856	4	1	_uhttps://shs.cairn.info/revue-de-l-art-2021-4-page-54?lang=fr&redirect-ssocas=7080
999			_c822964 _d822964