Corpus Vitrearum
CORPUS VITREARUM
The corpus vitrearum for the United States of America is published under the auspices of the Comité International de l’Histoire de l’Art and the Union Académique Internationale as part of the series of definitive catalogues covering all surviving European medieval and Renaissance stained glass. The United States Corpus also includes later panels, ranging up to 1700. The Corpus USA is arranged geographically, collections being grouped by state or region. Volumes are of uniform format, conforming to the standards set by the International Committee. Every panel is illustrated, mostly in color and frequently with relevant comparative material and high-quality restoration diagrams.
united states of america
I. European Stained Glass in the Cloisters and the Metropolitan Museum of Art, New York i. English and French Medieval Glass * II. Stained Glass before 1700 in New York State i. Upstate New York * III. Stained Glass before 1700 in Connecticut and Rhode Island IV. Stained Glass before 1700 in Massachusetts V. Stained Glass before 1700 in the Glencairn Museum** VI. Stained Glass before 1700 in New Jersey and Pennsylvania (excl. Glencairn Museum) i. The Philadelphia Museum of Art * VII. Stained Glass before 1700 in the Atlantic Seaboard States from Delaware to Florida VIII. Stained Glass before 1700 in the Midwest States * IX. Stained Glass before 1700 in the Central States X. Stained Glass before 1700 in California i. The Los Angeles County Museum of Art* ii. The J. Paul Getty Museum*
stained glass before 1700 in the Collections of the Los Angeles County Museum of Art and the J. Paul Getty Museum
The series is planned in ten parts:
part X/I
corpus vitrearum united states of america
stained glass before 1700 in the Collections of the
Los Angeles County Museum of Art and the
J. Paul Getty Museum
* Already published ** Forthcoming
Los Angeles County Museum of Art
HARVEY MILLER PUBLISHERS An Imprint of Brepols Publishers
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h a rv e y m i l l e r p u b l i s h e r s
corpus vitrearum · usa
STAINED GLASS BEFORE 1700 in the Collections of the Los Angeles County Museum of Art and the J. Paul Getty Museum by Virginia Chieffo Raguin 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 II of the series Corpus Vitrearum USA, Dr. Virginia Chieffo 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. Two volumes, 512 pages, 546 illustrations ISBN 978-1-912554-71-3 (ISBN set) ISBN 978-1-912554-69-0 HARVEY MILLER PUBLISHERS An Imprint of Brepols Publishers
29/05/2024 15:46