Stained glass before 1700 in the collections of the Los Angeles County Museum of Art and the J. Paul Getty Museum

Uittreksel

"The Los Angeles County Museum of Art and the J. Paul Getty Museum of Art are renowned for their wide-ranging collections, including important works of stained glass dating from roughly 1210 through 1667 that originated in Austria, England, France, the Netherlands, Belgium, Germany, and Switzerland. In this study, part X, volumes I and Il of the series Corpus Vitrearum USA, Dr. Virginia Chieflo Raguin profiles the more than 100 works of medieval and Renaissance stained-glass panels that make up these two prestigious California collections. These volumes provide insight into the art of collecting and display in California, as well as the development of its public museums, through a focus on the William Randolph Hearst collection now in the Los Angeles County Museum of Art and the philanthropic and cultural work of J. Paul Getty. The panels reveal fascinating histories of changing tastes and attitudes towards religion. In addition, the glass enriches our understanding of its original architectural settings, ranging from the great cloister programs of Klosterneuburg in Austria and Rathausen in Switzerland to civic and domestic buildings displaying the arms of families, guilds, or other institutions. The introductory essays contextualise the importance of donors in selecting themes that include civic pride, justice, commercial success, or family solidarity, as well as religious conviction. The introductions also provide a rich overview of stylistic change and the evolving transformation of technique. This art form ranges from the large-scale windows of deeply saturated color of the thirteenth century to the small-scale panels whose finely drawn designs on uncolored glass are linked to the great printmakers of the sixteenth century. In the catalog entries, Dr. Raguin draws on her expertise, born of decades of research and experience, to delve further into each work's technical aspects, artistic setting, religious significance, and social context. European reaction to the work notes 'It is gratifying that Raguin never narrows her focus to glass painting alone, but always includes works of other media in her comparative observations. She does this not only to ensure the stylistically critical classification of the objects but also to show that the glaziers did not lead an isolated existence, but were in close exchange with the neighboring arts ... she recognizes in them valuable documents of social communities' (Daniel Parello, Corpus Vitrearum, Germany). All cataloged panels are reproduced in color and juxtaposed with their relevant restoration charts. The volume also includes art and heraldic glossaries, an exhaustive bibliography and a comprehensive index"-- On front flap of dust jacket.

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Volume 1. Los Angeles County Museum of Art -- Volume 2. J. Paul Getty Museum.