BEYOND CRAFT Reprinted from the SGAA Reference & Technical Manual, Second Edition essay by Richard L. Hoover

Art historians generally classify Examination of the artist’s ability to art, then stained glass can never strictly be stained glass as an architectural embel- manipulate materials provides the founda- considered an art form. Stained glass lishment, building craft or, at very best, a tion for further study of the work as art, requires the assembling rather than the minor art. In architecture, stained glass whether as architectural complement or manipulating of raw materials to produce adds to the overall aesthetic of the struc- autonomous piece. A trap to be avoided a finished work. Thus, what is needed is ture, often blending with sculpture, fresco however, is that, in scrutinizing the craft either the acceptance that stained glass and frieze and other art forms to create a closely, no room is allowed for the cannot be an art form or a more sensitive unified aesthetic whole—the building. serendipitous to occur. While it is vital evaluation of what constitutes, hence Because stained glass has traditionally that the execution of a work be generally defines, art. The latter is more important, relied on the building to provide its con- within the bounds of good craft, it is both aesthetically and intellectually. textual meaning, stained glass has and important to leave enough flexibility in Neither craft nor material alone, or continues to be inextricably linked to the evaluation for some unplanned spon- even the two working in concert, gives a architecture. If there were no building, taneity, for deliberate experimentation. clear definition of art or artworks. The there would be no window opening; The inherent qualities of glass—its mere fact that a stained glass work is an hence, no stained glass. unique abilities to capture and modify the assemblage of material is proof neither But, to relegate stained glass solely available light, to color it, to add visual for nor against the consideration of to its form and function as an architec- texture and tone—define the medium; stained glass as art. What seems to be fre- tural component or decorative embel- how it is put together defines the craft. quently missing from an analysis of lishment, as intellectually comfortable But what defines the art? stained glass as art is the function of the as that may be, is to overlook its poten- Because each art medium differs in glass’ inherent qualities to filter and con- tial as an expressive art form independ- form, function and craft, its use as a medi- trol light. The assemblage of stained glass ent of its setting. Surely stained glass is, um of expression is validated. A produc- is not done to demonstrate a proficiency as Charles Connick maintained, ing artist chooses one medium over of craft nor is it to effect a linear compo- “Architecture’s agreeable little sister,” another because that medium can best sition. Rather, it is to create a color com- but an important question is, Is it more? convey the artist’s intent, and its craft is position which, depending on its ambient- Ascribing a role for stained glass within the artist’s repertoire. The inherent lighting conditions, changes from one outside the architectural context requires qualities of the medium and the artist’s moment to the next. It is the artist’s abili- some analysis of the essential nature, not ability to use those qualities, to some ty to construct a work that modifies and merely the function, of both stained measure, define the end product as “art.” controls the light with color that should lie glass and art. Stained glass, like oils, stone, acrylics, at the heart of the discussion of stained Inherent in the discussion of art is metals and other media, is uniquely suited glass as art, yet infrequently does. craft. Artistic intent in using the unique to specific artistic considerations; yet Adding to a lack of consideration of characteristics of any medium should be stained glass, rather than say, stone sculp- stained glass as art is the popular percep- implicit in a composition executed in ture, has historically been considered tion that the raw material alone, because it that medium. Some merit or value to more a craft than an art. frequently is quite beautiful, is an end in selecting one medium over another Perhaps one reason for this distinc- itself, an artwork requiring no further should be apparent or, at least, defin- tion is that, for a medium to become an manipulation. While the art glass medi- able. How well the artist puts together object of art, it must be directly manipu- um, generally recognized as hot-formed the components—that is, how well he lated, and, for the most part, the raw mate- utilitarian and decorative objects, mani- executes the craft—lays the foundation rials of stained glass are not. Unlike met- fests an artistic sensitivity and creativity for judging the work on its artistic mer- als which are molded, formed and bent, or within the glass object itself, colored its. A sloppily executed work, regardless oils that are blended, layered and applied sheet glass, the stuff with which stained of its conceptual intent, is seldom to another surface, stained glass is fre- glass artists work, must necessarily be assessed as art. Good art demands good quently used in its unaltered, manufac- produced with the intention of being com- craft. However, while excellence of craft tured state in combinations with other bined with other bits and pieces of colored may be the first essential criterion for pieces in the same state. If raw-material glass. However, if a sheet of colored glass art, it is not, of itself, definitive. manipulation is part of the definition of is so striking that it may be classified as an

222 The Stained Glass Quarterly art work in itself, its use as an integral part Stained glass will be considered a properties. Dimension was added, not by of a larger composite stained glass work is fine art form only when the art world and drafting and painting, but by using dimen- diminished. Consequently, it fails to meet the general public are educated not only sional glass. Matte effects were accom- its intended purpose and cannot be used about its craft but also about its artistic plished not by adding a dulling matte for fear of detracting from the larger com- intent, its unique and valuable properties paint, but rather by using a matte glass. position. Such glass, and there are some and functions beyond architectural Today, it is interesting to note that on the market today whose inherent qual- embellishments. To most individuals, many of these works, shunned by their ities of color, texture and light transmis- even those in the art community, stained fellow contemporary artists, are highly sion defy inclusion in a larger composi- glass continues to be viewed primarily as regarded and prized works of fine art. tion, should either be used as is or singu- an architectural art form. Throughout the Much of the recognition of value of the larly manipulated to create a more materi- centuries of its existence, stained glass works of notable opalescent-era artists ally homogeneous piece. has promoted itself to the architectural rests with their sensitivity in designing Further complicating the evaluation community as an art form, and today it and selecting their glass to reflect its of stained glass as art is the popular, albeit enjoys a comfortable niche in churches intended purpose in the design schemes cavalier, perception that all stained glass and public buildings throughout the they developed. This sensitivity to their is beautiful and desirable. Not all sculp- world. But it can be more without aban- materials is the first mark of an artist and ture, not all easel painting and certainly doning that traditional setting. the first step to the re-evaluation of the not all of any other medium is worthy of In order for stained glass to expand definition of art. the art label; yet it is not uncommon to beyond its traditional role striving for Defining art as the manipulation of encounter the perception that all stained inclusion in the fine art community, pub- raw materials is too narrow, too restrict- glass is beautiful. This attitude is, at the lic and art-community attitudes must be ing. Facility within a medium, its use of very least, uneducated. Although the altered. The public must be educated imagery, the artist’s intentions and the entrepreneurial desire to market stained about the criteria for artistic stained glass effects achieved are more important glass may entice some artists to condone so they can recognize that not all stained determinants of what constitutes the artis- this illiterate attitude, for the sake of glass is beautiful. Glaziers who so will- tic ideal and, thus, the nature of art. These stained glass as art, it is detrimental. The ingly retrofit stained glass into new open- thoughts are not to deny any specific def- attitude reduces all work to the same ings must develop a new sensitivity that inition of art. Rather, they are to suggest plane and disregards differential qualities they are part of an artistic process, not the need for a more sensitive considera- of merit and distinction. merely craftspeople. During the opales- tion of the similarities among the diversi- Another consideration is that the cent era, stained glass began to gain a ties of art mediums; they are to suggest a craft of stained glass allows for the post- foothold as an art form in addition to, and more inclusive definition, and hence eval- production modification of an original outside, the traditional ecclesiastical win- uative standards, of art forms. work. That is, it can be repaired and re- dow market. John La Farge, Louis C. If stained glass is to be viewed as a sized through the removal or addition of Tiffany and other products of this time fine art by the art market, the sensitivity borders and other components. The abili- opened the vistas of stained glass for use shown during the opalescent era toward ty of the materials to be modified suggests in interior settings. With this upsurge of not only the material but also the overall to some that the art work is a craft and, as interior space planning, we saw the design and function of the piece is neces- such, deserves less consideration than if it advent of the stained glass lamp, screen, sary. The stained glass artist must function were an authentic work of art. sconce fixtures and a host of other deco- more as artist and less as craftsperson. Consequently, old windows that original- rative uses for the art form, all outside the ly possessed artistic merit are arbitrarily confines of the window opening. In addi- diminished to fit a new opening, and, con- tion, the nature of the glass itself was Reprinted from the “Design & versely, new, lesser-quality elements are changed: new textures, light transmission Color” chapter of the SGAA Reference & insensitively added to make small works qualities and densities added to the artist’s Technical Manual, Second Edition. fit a larger opening. No consideration, palette. To the disdain, disgust and horror whatsoever, would be given to adding to, of some traditional stained glass artists, or deleting from, a fine oil painting or a the artistic focus of the works, whether bronze sculpture; but because it is physi- windows or lamps, turned away from sur- cally possible to do so, stained glass, fine face decoration of clear colored glass to e stained glass, is irreparably butchered. the use of specific glass for their inherent

The Stained Glass Quarterly 223