Volume II â€” Number 51
Jon Kuhn . Proyects.
M. A. Carretero.
But yes, trying to keep the costs of these virtual storefronts are zero or minimum amounts, to try to take advantage of information technology today we offer very low cost when compared to the benefits.
Besides, the prestige of the brand should be achieved through an effective work of our agencies based abroad, opening the doors of the various promotional events organized in the respective countries.
On the formation that is necessary to dare with these new methods, we For our part, we believe have examples that supwe can support these so- port the achievement of lutions through two ways. the preparation needed to address these challenFirst, we estimate that In- ges through courses that ternet sales can be a may be free in many cacomplement to traditio- ses. nal sales and open international markets if they Moreover, we also consider the designation of oripose so successful and, as a prerequisite, quality gin granted to good artisproducts are offered in tic achievements may be their implementation and a guarantor for the introduction into international in the raw used. markets products manuSuch sales, artistesanos factured in our country those which do not have may have less difficulty Nuestra sede: already implemented in than in the absence of this Castillo Grande de their business strategy, S.J. de Valderas guarantee. we see them possible Avda. Los Castillos, s/n through individual virtual But the effectiveness of 28925 ALCORCĂ“N. pages or through collec- this measure is highly com(MADRID) tive platforms that offer plex. email@example.com several products artistesanos pursuing common For this trust can be real must be provided by a purposes. group that enjoys an unmistakable prestige abroad and that this brand is not granted across the board and without that, previously, on completion of appropriate quality controls on the techniques used and the products used in its development.
But to initiate the procedures for implementing the necessary steps to get this two-way to offset the effects of the current crisis, it is essential that our artistesanos believe in the desirability of adoption.
In these difficult times of recession in sales and increases in material costs and various supplies, encouraged by the Government or by the dynamics of the market, try to find solutions that attempt to counteract these negative effects on trade of glass art.
To do this, we are conducting a survey through which we are conducting visits to various glassmakers and the current result of such surveys is proving very encouraging. When they have passed the effects of the effluvia of the Christmas holidays begin the necessary contacts to seek commitments for institutionalizing favorable mention of "designation of origin". The name to use believe may be the result of a vote on the proposed options artistesanos glassmakers, for example, "glasspain". As we go getting progress in the efforts we made, we will make them public through the pages of this site.
S PE C I A L I NT E R E S T:
Important issue: the Intellectual Property Law (XXII) M.A.C.
Part of the month
Intellectual Proper- available to the puty Law blic concerning a
David Magan exposition
The workshop in crisis
Activities on the MAVA News Our activities
Volume II — Number 51
Glass recycling How does CONTENTS:
Part of the month
David Magan exposition
The workshop in crisis
Activities in Museums
Artisan Fair Madrid
Activities on the MAVA
The ICOM in the VICAL
Discount in La Granja
Paula Monica Betanzos
Homage to Picasso
Montse Puñet in FITUR
The glass museum
Failing agreement between them on such phonogram or an ori- sharing, it shall be in BOOK II. TITLE I. ginal or a copy of an equal parts. Rights of artists. audiovisual recorWhen the performer ding, retain the inalie- Excluded from such individually or collec- nable right to obtain payment obligation tively hold an audio- equitable remunera- the provision of the puvisual recording pro- tion of who performs blic in the manner provided in Article 20.2.i of ducer contracts for such provision. this Act. the production theUsers of a phonogram reof, shall be presuUsers of audiovisual republished for commed, unless otherwicordings are used for mercial purposes, or se agreed in the public communication contract and subject a reproduction of acts are required to such phonogram to the inalienable pay the performers right to equitable re- used for any form of and producers of aupublic communicamuneration, has diovisual recordings transferred its right to tion, are obliged to that appropriate compay a single equitamade available to pensation, in accorble remuneration for the public. dance with the rates performers and phoset by the corresponThe performer has nogram producers, ding general managetransferred or assigamong which will be ment entity. ned to a producer made sharing it. the right of making
URGENT NEWS Area of interest artisanal.
Staiend glass in Guadalupe 21 Glass recicled
Exhibition of La Granja
Culture 2012 Programme
Exhibition of Olga Anton
Repair in the Cathedral
Factory in Aranjuez
The Dolphin Treasure
LU Murano in China
Exhibition in Villaviciosa
Nativity in La Granja
Anniversary in Pamplona
The Glass House
The Order of the Ministry of Trade and Tourism of Andalusia past December 17 Interest Zone Artisan declares the Malaga town of Velez-Malaga.
Puñet Terrado, stained glass artist whose studio is located in Torre del Mar.
Premises and workshops who earn this badge will appear in In the warrant authorized only the publications and official guides workshops listed in Annex I to the and tourism craft edit the Regiouse of the logo on the outside nal Administration and participathereof. te in fairs and other events orgaThis annex cited 14 workshops, of nized by the Ministry with the aim of "promoting and improving which 10 are dedicated to working constructively and brickma- marketing of crafts in the area of king ceramics, two stained glass the community. " windows, one to another to Our warmest congratulations to dressmaking and embroidery. this artist by placing the glass in Among them include Montserrat such a prominent place. www.amigosmava.org
Part of de month. Agnes Kertészfi. In 2004 and organized by New
London Glass, this traveling exhibition took place with the participation of 12 artists from the United Kingdom with 14, Hungary, showing his works in five different rooms in three European countries.
Volume II — Number 51
The sample was supplemented by a seminar. The work that the MAVA has labeled "Pyramid" participated in the 14th annual exhibition Glass Now 1992 (Glass Now 1992: 29) under the title "Glass Mountain". As organizer of international meetings Glass Now in Japan between 1978 and 1995, Takako Sano was assembling a large collection, part of which would doÁgnes Kertészfi is one of those artists that is called whenever it is an exhibition of contemporary Hungarian glass.
Days in Tokyo (1986). More recently we have seen as
nate the MAVA in 1997. One was this work.
part of the group of Hungarian
Ágnes Kertészfi participate in ot-
artists-united under the Hunga-
her editions of this sample as
A few decades ago, was in New rian art glass belonging to the Hungarian Glass exhibitions in
years-in Fragile exposure char-
London (1984) and Hungarian
Glass Now 16th 1994. Years earlier work had also presented at the International Exhibition of Glass Kanazawa'88. In his home town of Pécs, has made several architectural commissions and ornamental glass dome in the Foreign Trade Bank (1993) and the windows in the church of Rácváros (1997). Ágnes Kertészfi builds his works with industrial glass sheets, cut and pasted, with clear architectural references. His work fits fully in contemporary glass Hungarian School, initiated by Gyorgy Z. GACS and has its top representatives in Maria Lugossy and Zoltan Bohus.
Established artists. Jon Kuhn.
mic like surfaces and were reminiscent of rocks which when broken open reveal glass like minerals inside.
January 2013 Volume II — Number 51
Jon Kuhn received his MFA from Virginia Commonwealth University. Kuhn's architectural glass art is very highly regarded among collectors and connosieurs of cold glass art.
Jon Kuhn is one of the foremost glass artists in his field, creating highly intricate architectural glass art sculpture that has won worldwide acclaim. Kuhn works exclusively in cold glass art, cutting the glass into small segments before polishing and laminating them into abstruse knots of light and color. Jon Kuhn glass sculptures are immediately recognizable for their intricacy and ability to reflect and refract light.; Among architectural cold glass artists, Kuhn's work stands out for its complexity, its geometric forms and for its presence which
has almost a spiritual quality. Jon Kuhn believes that "the goal of spirituality is perfection" and that striving for perfection is quite evident in his architectural glass art. Kuhn, who has studied Eastern spirituality extensively, writes, "Striving for perfection has never been more evident in what I do. Perhaps my glass sculpture has become an architectural model of a vision for a better world." Kuhn originally studied ceramics in college before becoming one of the leading cold glass artists. His early works in cast glass had cera-
Young artists. Julie Ann Denton.
Jon Kuhn glass sculptures can be found in many prominent private and public collections, including the White House Collection, the Metropolitan Museum of Art in New York, the Smithsonian American Art Museum, the Carnegie Museum of Art and the Corning Museum of Glass. He resides in Winston-Salem, North Carolina. “My philosophical expression in glass has always been a reflection of my interest in eastern mysticism. Recently it has come to focus on the inspiration from several personal meditative experiences. For specific subject matter, I make reference to my interests in architecture, music, mathematics, and textiles, as well as the formal considerations of structure and color. The pieces, in a sense, become architectural models for an inner world, possibly a better world.” View video Our web
philosophy and printmaking. In 1999, I attended a summer school in Seattle called Pilchuck, which changed the course of my life! My instructor was Emilio Santini and when the three and a half week course was over, he offered me an apprenticeship. Upon finishing University with an Honours Degree in Glass and Philosophy, I travelled to the States to work for Emilio for six months. After the apprenticeship, I set up my studio and continued to make work for shows and galleries.
I was born in Douglas in the Isle of Man. My parents were in the tourism industry and we owned and ran a hotel. From a young age I had an aptitude for art, and when I left school, I attended the Isle of Man College to take my A levels and GNVQ’s in 3d design, Fine art and photography.
Although I was expected to take over the family business I received excellent grades from College and chose to go to University. Whilst studying Ceramics and Glass. I quickly realised that my path lay within the field of Glass. I changed direction and carried on with my degree but in glass,
Since then I have completed a year long residency at the Sayle Gallery in the Isle of Man, moved into an Artists Collective for 4 years and in May 2009, I relocated to Zurich, Switzerland to pursue my professional career in Glass. As well as making glass full time, I also teach non-accredited courses in flameworking and sandcasting, and this takes me all over the world for at least four months of each year.
David Magan’ exposition.
Volume II — Number 51
This past December we visited
tigating light, color and space
ethereal, fuzzy at the ends and
the works that our partner and
as a place to be bounded by
at the same time full of acci-
friend David Magan has exhibi-
dents from something that is just
ted in Gallery Cayon and ending on February 2.
In all the series presented in the exhibition, although more evi-
Since its inception as a sculptor,
dent in free calls and relief, color
a decade ago, Magan conside- planes created by the glass in a red to support tempered glass and a half of his work.
double read. Reading is the most immediate
Her academic studies on glass
presence of glassy material per-
and its effects began in 2002
fectly clear cut, the second,
and ended in 2008, after passing that interests the artist more if through the School of Arts and
possible ('actually think that light
Crafts in Madrid, with a course
is the protagonist of my work'), is
at the Royal Glass Factory of La
the look that causes the effect
which generates light on the co-
Paradoxically, after more than
two years of residency so little
The light not only blurred silhou-
light a city like London, the work
ette projected on the glass pla-
of Magan, has become even
te, but also the innate imperfec-
more open to the effects of
tions of a material that at first
glance we thought undefiled.
For this exhibition we have selec- This duality of the solid, understed some works in the UK and
tandable and pure and perfect
other executed in Madrid studio
aspect (connecting with mini-
artist who works as a series inves- mal assumptions), against the www.amigosmava.org
the opposite (that evokes the work of Josef Albers glass of the twenties), great interest to Magan, since make us reflect on the changes of light in space. In addition to the latest creations in glass, exposed in the gallery a video series produced by his brother Kiko in which, thanks to the combination of the dynamic image of the projection and the static glass Magán one side insists on eye color as accident and the other to the shape and limits. Magan David is represented exclusively by Cayón Gallery since 2010. Journalist Emma Garcia published on the website of artedegaleria.com criticism of this exhibition and can be viewed via this link.
The workshop in crisis. diences that have traditionally not
want to spend the little money they have in totally useless decorative elements on a practical level. It is clear that he has no money, but obviously the money in question has not disappeared. So you have to reach audiences
Volume II â€” Number 51
that has been done with that money, the money they had before the crisis and now has even more money. It is the time to invest in advertising in the mainstream press. No, you have to invest some more money and look for the magazine published by, for example, the association of architects. Thinking about putting an ad in the magazine that may be in the waiBalcells Gerard Collaboration.
The diversity of techniques and ap-
The public has been educated to
ting room of the Porsche dealership in the capital.
plications of glass do not speak in a hours based on the net value our general sense for any aspect of the work and also in terms of the rela-
Find the jewelery shop in uptown
industry that we propose to analy-
tionship can be established with
produce a quality bonus, finished
our public face on the Internet.
with a gloss, and give them a touch
The crisis is no exception, even af-
And that means investing time that
fecting everyone with varying in-
sometimes we do not.
tensity. From the small stained glass shop like mine, who works for individuals and expect the phone to ring, the glassblowing workshop with a small business network of specialty shops, or fusing workshop,
Having the site up to date, answer the phones, make quarterly statement, make, draw, take action, bi-
of sheen, for example. Enhance the value of the product using grisailles free of lead and cadmium, and prioritize the idea of respect for the environment.
ll, defending a budget, keep the
In Spain and many shops have clo-
stock, sweep the workshop ...
which has focused its production to Too many things to get to everytjewelry or jewelry with unique piehing. You have to find time to simces at a competitive price.
plify all that our method can be
Different products come in diffe-
rent portions of the same market,
Maybe you have to invest in a bigdifferent prices for different people, ger furnace so that consuming a different approaches for different little more electricity, more pieces productive creative results.
go, or pre-emplomar lead putty
But there is something that is gene-
NDG to save putty all the time and
ral: all workshops have a web pre-
and there put our pieces that we
not have to wait for the putty is dry
It is sad to think that many will not ever open again. It is even sadder to see how the world of glass, our world is becoming less world. But there is still a market and workshops that can support the medium term, the project will get done with not performing the workshops that have closed.
for going to put a window in order to clear the table and start a new
That means being in the whole
And that will be well if those who
project, having billed and collec-
country and sometimes internatio-
remain are able to provide quality,
ted the previous project in less ti-
nally. Just like that?
value-added, creative solutions,
me ... Save time, really.
modern procedures, competitive
The net benefits are obvious when
If our market is reduced as a result
we are well positioned and enter
of the crisis, we must take time to
orders. But for that to happen you
The sun continued coming every
invest in finding more customers or
have to spend time on our web
thinking and implement the strate-
product is the same quality as the
gy that will help us to change your
products we sell.
It is not worth the web that we did
Already in Spain workshops that
six years ago a nephew and never
have chosen to reach different au-
We will have to keep playing with that light. Gerard Balcells www.peliglass.eu
Line of research: Inclusions (X).
Estefanía Sanz Lobo.
compensated by the characte-
Tin "... at 200 ° is sprayed by ac-
ristics of tin (is soft and low com-
quiring a crystalline granular tex-
pressive strength and tensile
Another experienced metal is tin.
both raising the temperature
This metal melts at 232 ° C. This fact seems discouraging first mixed use with glass, since climb
above its melting point.
Perhaps this is what has happened in the part of the sheet which is outside the glass: the tin
Sample sandwich tin foil; in Fig. 1 has been sprayed by raising the will appreciate the variety of
temperature curve, then possibly
shades from yellow to gray in
has blown to exceed 230 ° C,
the image of Fig. 2 the transpa-
and the lower the temperature
However, its boiling point is very
rency is displayed on a part of
curve in the annealing stage, it
high (2270 º C).
has become to be sprayed.
Its coefficient of thermal expan-
Other tests were carried out with
With respect to tin, we mean
sion is 235 x 10-7 (there are 145
tin foil, this time leaving part of
that not only has been experien-
units apart, remember that we
the cut sheet out from the sides
ced in the art including melting,
talked with three units of incon-
of the sandwich glass, acting as
but also to cast with slightly diffe-
sistency when it comes to two
rent results as shown in Fig 5.
The result was different in that
Possibly this veil texture of dro-
the atmospheres in both cases
plets is achieved only by casting,
to 850 ° C, and there is a risk of
Volume II — Number 51
strength) and the changes in
glasses: it is expected that the inconsistency).
Nevertheless, the tests were posi- varied: in the first case reducing, and the second oxidant. tive results. We used a tin plate of 0.5 mm
In the two tests given in Fig. 3
and 4 have not gotten the tin
Tin is "hot", ie it becomes a mat-
foil is transparent.
ter of grayish-yellow, translucent
The result in both tests is diffe-
plastic that provides interesting
rent: the first with a lower mel-
ting temperature, the tin metal
Moreover, once cooked the
has retained its appearance.
as the tin does not heat up gradually, as in the case of fusion, but suddenly comes into contact with a mass of glass to over 800 ° C. In that Fig. 5 provides a glass sculpture made by casting. We see an inclusion on a sheet of tin, which is shown as a thin veil of black bubbles, which in some areas come together for-
samples to observe no voltages
However, in the second internal
appearing across the polarisco-
oxidation occurred with a yellow ming a blackish and opaque
-orange bloom, particularly in
Possibly, the difference in coeffi-
the outside of the glass.
cients of expansion is www.amigosmava.org
area. Part of the film came from the sides acting as a chimney.
Activities in Museums I.
Volume II — Number 51
Activities in Museums II.
Volume II — Number 51
Activities in Museums III.
Volume II — Number 51
XXV Madrid Craft Fair.
Volume II â€” Number 51
On December 15 opened the XXV edition of the Craft Fair of the Community of Madrid. This edition has reduced the number of participants to 167, when in the last year were more than 190.
The crisis affecting all sectors of the craft in general and in particular glassmaker, together with the high amount of duty of exposure in this year have been two important reasons why the number of participants has decreased and have opted participate in similar events in other Spanish cities.
The high price of the stands can be a strong deterrent and have prevented many artisans participating in this Fair. And we're pretty sure that some of the participants have been On our visit to this event we present in this sample as a lifecould greet our friends Fulkolor, line to prevent them from finally Vitreus Ignis, Xana, Aura ..... sinking under the weight of mulThey have participated this year tiple loads that need to stand without the lifeline involving Maria de la O Collado, Pineda de Luelmo and Susana Aparicio sales during the rest of the year be able to keep them afloat. by the glass sector. The sector has been involved with ten stands, a figure considered somewhat low considering the participation of past editions.
Therefore, we believe that our regional authorities should be aware of the terrible journey that our artisans are making through the desert of the current
crisis and do everything possible to keep them standing. The level of the fair, as in previous editions, we regard it as very high, with a very well done work mostly. What we found very suitable is the participation of some booths with food products that have nothing to do with the craft sector. Neither have anything to do with the nature of the goods or have anything to do with the craft sector, as all of them are industrial products. It is true that are located in a separate space and together, but these products have their own space at other shows and have nothing to contribute to the crafts sector.
Activities on the MAVA. “Sopa de piedras”.
Volume II — Number 51
jects exist, make dialogue with the space. It is a journey that requires a certain obstinacy: they are facing a production process that is usually long, you start with the idea and ends with the installation of the sculpture. These two artists share the same determination that has to be completed in the process of putting art to poetry and through which we secretly reveal what is present in the objects, made an obstinate memory of whispered words. "
Coinciding with the celebration of the 15th anniversary of the inauguration of MAVA, artists Meritxell Tembleque and Joaquin Falco, co-founders of the Catalan Association of the Arts of Glass, have brought to our museum a spectacular collection of works, some that were already made and other they have created especially for this exhibition, we can enjoy until the 21st of this month of January.
to, not only manually but not write despreocupamos us by our handwriting. Miriam Di Fiore also gives his word in the catalog through a Therefore, this type of writing poem titled "Glass, Stones and transports us to a time of transWords". formation, refers to a passage of times each stored in a different It speaks of "blood-red words", way. "silicon crosswords", "Poems crys-
Silvia Levenson, in presenting the exhibition catalog, says "The sculptures of Meritxell and Quim are the result of a happy combination of forms, deeds and transparencies.
His pieces are like dreams frozen in various forms, stones, bodies or archetypes.
I know for many years the work of this artist couple and always has impacted their use of writing.
For me, the point of access to work and Quim Meritxell is closely related to memory: dream, touch, historical and personal.
Written language defines our memory, which in turn determines our experience as human beings. Maybe the glass contributes to the preservation of the memory that we will survive.
Recorded phrases and words on Maybe that is why artists use the glass, calligraphy writing giving stone paradox of glass, contaithe feeling of being suspended ner quintessential memories. in space. The Glass is very technical. For They perform pieces that are like artists who use it, the challenge messages or travel notes thrown is to remain faithful to poetry or overboard. concept without getting lost in Writing becomes a personal dia- technology, without trying to imry that everyone can read but press the visitor with juggling can hardly decipher: the overtechnical or trade secrets. lap of the phrases makes reaIt is a challenge and Quim Meding difficult and impossible. ritxell honestly have faced as Actually these sculptures speak they have found a balance betalso of a mind that changes and ween form and content that we amending our eyes: in the digital face toward his most complete. age, there are few people who Quim Meritxell and make visible write by hand. ideas and dreams, turning them The computer and the cell type into objects and once these obwe have become accustomed
tal", "Dialogue between two that create", "Everything in your glass tells me about Love." And the artists tell us: "We feel our work as an extension of nature. We want this feeling of unity. For us the glass is like no other material, processing and the constant flow of matter. Sorry, as an expression of the polarity of nature: solid and liquid, the permanent and the impermanent, as a paradox in the world of constant change and flow. Documents that have been set over time in Earth's history are written in the stones, or what the same, are the stones themselves. In an imaginary journey to step back in the history of the Earth, we could see as the mineral matter evolves toward life and consciousness. " Artists should have pronounced a conference on the exhibition of his work the day after his inauguration, but because of poor publicity of the event had to be postponed to another time that will be released, hopefully, with the necessary anticipation and dissemination.
The ICOM in the Museum VICAL.
Volume II â€” Number 51
Vical Museum, Guatemala, sent
event launching the postal issue
World: New Challenges, new ins-
us the following e-mail:
referred to in the letter. In this
text we are exposed:
Today the world is changing fas-
It is a pleasure for me to greet
ter than ever, and the Courier
and thank the excellent com-
On Tuesday, December 11 in
was not the exception, in terms
munication that have maintai-
the meeting room of the Gene-
of innovations and changes that
ned throughout this anion with
ral Post Office, The National Phi-
have been captured in the story
latelic Council chaired by the
through the stamps, which identi-
We just had the 1st Congress of
Director of the entity Rodolfo
fy each nation of the world we
ICOM North Lac in Guatemala
Jorge Ortiz Asturias, invited the
and had invited the Director Ge- Director General Rolando Engi-
Considering the above, in this
neral of ICOM Anfruns Julien, Te-
neer Group VICAL Charpentier
postage stamp shows the similari-
reza Scheiner and the presidents
and Ms. Susana Campins, Direc- ties between the artifacts: whistle
of Mexico Icom, ICOM Costa Ri-
tor of Pre-Columbian Art Mu-
figurine trumpet musician, on the
ca, Chile and Luis Repetto Icom
seum VICAL and Modern Glass
south coast of Guatemala, the
ICOM Peru. They were three
to circulate the postal issue
early Classical period 300-600 AD
days in which we could share
"Museums in a Changing World". and captive deer figurine whistle
with our guests and workshops in the cultural a Mayan ceremony. Also tell them that the December 11 issue launched our post that has been very successful and highly sought after by collectors. I take photos and share them to wish them a happy holiday from Guatemala and an excellent 2013. Please can you share the card and stamps to your contacts. Thank you very much
MUSEUMS IN A CHANGING WORLD Traditionally, the International Museum Day is celebrated around the 18th of May, the time when museums become an important means of cultural exchange, enrichment of cultures, the advancement of mutual understanding, cooperation and peace between peoples. The Advisory Committee of the International Council of Museums (ICOM) proposes a the-
me each year that museums
can use to enhance their posi-
VICAL Museum " Also, we do get a text with the
tion in society and proposed for 2012 is: Museums in a Changing
highland Guatemala Classic period (300-900 AD) and the glass pieces: Dagger with musicians Daum and Antelope House House both Royales de Champagne from France. " We sincerely thank Ms. Campins your kind words and the great collaboration that provides us informing us of these important events. It is a pleasure for us to share this information with our readers, because we consider it of utmost importance to the world of glass and to comply with the wishes of Mrs. Campins.
Discounts on La Granja.
Volume II — Number 51
Painful but true.
the range of products.
The Royal Glass Factory of La
For the first time we find car-
Granja, which produces glass-
vings, works of fantasy or glasses It's a question that we should ask
ware for royalty since the eigh-
in red glass, the most expensive
the leaders of this prestigious fac-
teenth century, popularizing
on the market.
tory, considering that the funds
their products at affordable prices.
"These crystals are a gem and at least offer if you can buy things
The secret? They are small pie-
that are usually more expensi-
ces with production flaws, ex-
ve," says the director Aurea.
plains director of Royal Glass Factory of La Granja, Aurea Juárez. "if it is true that there are many defects that are practically negligible, people say: Well if it
Some repeat and many have taken advantage of the holiday to get ahead of their Christmas shopping.
duced at the Royal Factory of La Granja?
you can get from these sales are not going to take the financial hole in which they are immersed. "Better to honor without ships, boats without honor". This famous phrase, attributed to Admiral Méndez Núñez, we believe it can be applied to the problem of La Granja, considering the
can even be prettier buy de-
Only until Epiphany may be ma-
high reputation of this institution
fault, certain collectors pieces
de with pieces of glass that ex-
will default because it is true that perts compare to that of Bo-
And besides what have to say
normally can not be found for
hemia, at a price to fit any bud-
An initiative that began last year
Can you move around the
licy that we discussed? We'd like
and that this time has expanded
world with defective parts pro-
to hear them.
that both glassmakers have contributed to the prestige of this po-
Master glazed XXI century.
Volume II â€” Number 51
"You'll starve." That was the phrase
he says as a summary of the research
heard Paula Monica Betanzos home
process and inventory of the most em- exploring every corner of Bilbao where
when he announced his intention to
blematic. It has included a hundred
I could have found a stained glass
enter the world of stained glass.
references, but what he has found
works of art in private homes. "Portals
Although we chose a path away from
"likely to fill two books."
deserve another book in themselves,
the a priori disciplines guarantee bet-
Train stations, theaters, other civilian or but neighboring communities have
ter employment, opted to turn their
portals. The quantity and quality of the preferred not to leave the address,"
hobby into lifestyle doubts over their
glass that has had the opportunity to
reveals. No doubt, what most surprised
environment. "To live in this? Depends
admire Ina who believe that "the win-
her was discovered elsewhere compo-
on what a person needs to live. This
dows are a thing of the churches." Alt-
sitions even more unexpected. "I was
concept is very variable," he reasons.
hough, of course, has not forgotten
struck by one in particular because it
Diploma in new techniques and con-
the religious temples.
reflected the light and the truth is that
temporary stained glass conservation
The glassmakers have lived in the sha-
without this effect does not make sen-
and restoration of historic stained
dow of other artists throughout history,
se", he says.
glass, has a workshop located a few
it claims. "The vast majority of the
The chronological journey begins in the
meters from the Old Bridge in his nati-
works are neither signed nor dated,"
Cathedral of Santiago ends in store
he says. So he decided to gather the
windows from the venue, "possibly the
At his headquarters leaded designs
most prominent of Bilbao. It's a way to
most modern and controversial becau-
and manufactures parts that fit more
do justice to these works by expan-
se some people do not rank as such." It
with his taste for new trends, although
ding the information on the grounds
fits the style that she likes. "We associa-
it acknowledges that "medieval, like
that they represent and the authors,
te the windows to the big churches,
Notre Dame de Paris, are spectacu-
discover all the details through the
but other techniques and can repre-
many accompanying photographs.
sent other reasons," he argues. While
His work protocol not too far from tho-
Oldest correspond to the Cathedral of studying in Barcelona used to long
se craftsmen, except that today provi-
Santiago. "The workshop of the French
walks in the center "absorbed in the
de support technological advances.
Pierre Dagrand completed in two sta-
modernist glass, I love to be original
"It is designed on the drawing paper,
ges in 1867 and 1890," he says. At that
and different from the classic concept
then adjusts to size and you back to
time the windows experienced a re-
that spoke a moment ago."
cut the glass to size and paint. Then be
surgence in Euskadi. However, just Bas- In a future that appears increasingly
placed in the oven to complete the
que names appear among teachers
uncertain, would like to go one step
which includes the book. "The reason
further in their artistic field. "I love to
So windows for buildings made to your
is that there were none.'s Why French
create sculptures in glass and move
local representative. The windows that
artists settled here. To Union Irun glass
the plane to the volume," he adds. The
look Klaret Antzokia and museum of
masters descended from a French
problem, as usual, is that "costs mo-
the history of Balmaseda-formerly the
ney". Now is passionate about getting
church of San Juan, on the banks of
Of her mentors learned the technique
your publication on the windows of Bil-
the river have left Kadagua-study.
to produce monumental composi-
bao hits the bookstores around Bizkaia.
He has also worked on the restoration
tions, as the window of the station
For now already sold in the establish-
of some windows in the church of San
Abando. Its opening was an event at-
ments of the capital. No rule ordering
Severino. "I am very proud of all the
tended by Franco. Despite its size, the
the material has had to discard for
work I have done," he says.
guild professionals had little tricks for
lack of space to get a second chap-
Among them, his book on the win-
the result to be perfect: "First drew a
ter. Until then, shaping and watermarks
dows of Bilbao recently published. Six
sketch on paper divided into panels
that draws geometric mentally as the
months touring the city from end to
and assigned a number to each. Then light seeps through the window of his
end for him documented their toll. "I
transferred the drawings to glass" des-
ended up with tendinitis in the foot,"
During the six months he has spent in
Glass ring at the Museum of Cáceres. Glass is a material which has fai-
led and has become rigid when cooled, while maintaining the structure of liquid. In Roman glass consisted primarily of sand, soda and lime, soda occasionally replaced by potash, its use spread throughout
Volume II — Number 51
the Empire, being used primarily for making containers: bowls, cups, bottles, ungüentarios, polls .. .., including window glass, mosaic tiles, game pieces and objects of personal adornment such as beads, earrings, bracelets and rings. The rings are glass ornaments Not sure how, when and where
servation, and was also used in
it took place the discovery of
medicine, for the manufacture
glass, by all indications is origina- of perfumes, colors, glazes, etc. ted product of technical advances achieved after a long process of trial and error in relation to existing technologies. The Latin writer Pliny the Elder in his Natural History relates how the glass was invented by accident near Sidon, in the mouth of Belo.
The natron would have been brought from the salt lakes of
ver water mixes with sea water, resulting in a very bright sand deposited on the beach. According to Pliny, at that point landed Phoenician traders from Egypt, and had no stones on
excavations, perhaps this can be explained by its fragility. Manufactured mainly dark green color and yellow roll manufacturing yarn was hot glass in a poin-
northern Egypt, near Alexandria, ted metal rod and then turned after the material had burned to take the form of a ring, plafor a while, saw a mass formed vitreous greenish blue. Be that as it may, in the midthird millennium B.C. are dated the first pieces of glass, and the
There the clay component of ri-
that appear less frequently in the
ced in the oven until the desired consistency is pulled and decorated. This technique allowed twist, shape, and even join several rods together.
Bronze Age were already settled Piece of the month is a ring of the technical conditions neces- thick glass, opaque bluish black sary for the production of glass: the bellows were known to reach high temperatures, melting furnaces bronze pots and blowing technique brass plates.
color, polished and flat semicircular inside and outside, with two thick ribs on the sides of yellow glass center bezel, the bezel was made separately by the technique of pressed onto mold,
which to make a home for pre-
The glass is a hard, inorganic,
paring food, taking lumps of na-
crystalline and frequently not
tron (natural soda), who carried
transparent or translucent,
by application of heat.
on the ship as traded.
which is formed by heating to-
In this case, represents a human
This material was well known in antiquity because of its many uses: for embalming, unbleached linen, cooking, food pre-
gether a mixture of materials such as silica sand, limestone and soda at high temperature to form a liquid.
subsequently joined to the ring
face with very well marked traits comes from a casual surrounding the city of Cáceres.
N E W S (I).
Awards Alfa de Oro 2013. These grant awards are being
In particular, it is intended to
continuously for 35 years as part
assess the background contri-
of the International Ceramics Fair bution of innovations in the CEVISAMA Valencia.
The awards together technical
These awards are intended to
Volume II — Number 51
reports, are set forth in the Natio- stimulate scientific creativity, nal Tile Museum in Onda
technological and artistic ce-
ramics and glass on products
The deadline for receipt of nominations for the awards ends on
that are exposed in the specialized sample International Fairs held in any Spanish town
and that technical or artistic
The purpose of these awards is to qualities are worthy of such distinguish those products, pro-
cesses, machinery (even years)
The pieces selected by the
and equipment sectors of Cera-
court for admission shall be
The Spanish Society of Ceramics
mics and Glass, which stand out
and Glass announces a new edi-
for its technological innovation
tion of the Alfa de Oro Awards to
and / or artistic and distinguish
reward innovation in the flooring,
those criteria in functionality and
tiles and ceramic glazes.
usability bathroom products and kitchen equipment.
submitted for consideration by the examining board appointed by the Spanish Society of Ceramics and Glass to award the prizes may be forfeited any of them. The jury's decision is final.
museums and private collections. For over forty years, until his death, he worked in Paris and Venice, where he captured the beauty of the two cities and contacted prominent European and international artists, including Camille Pissarro. The cosmopolitan profile Martin Rico had had his most successful works outside Spain so that, with the exception of the Prado, is a painter underrepresented in institutional collections of our country. Organized in collaboration with the Meadows Museum in Dallas, which will be exhibited next year, the show brings together a hundred pieces, including paintings, watercolors and drawings, most of them unpublished. The exhibition, entitled The Landscape reflects Martin Rico since the beginning of its activity as a watercolorist, through an album made with a view to their natural places like El Escorial, Segovia and Avila This past December we visited the
Its special capturing light and the
who owns the Prado, related to the
exhibition that the Museo del Pra-
peculiarities of the cities you trave-
romance, until further stay in Paris,
do has dedicated to Martin Rico.
led gave great recognition in his
still yet to work in Granada, Seville
Martin Rico is a pioneer in the intro-
time, particularly in the U.S.
and Toledo, contribution made
where his work is represented in
from Switzerland or end in Venice.
duction of realistic landscape in Spain.
N E W S (II).
Self-cleaning glass. Government, revealed that his team used the technique of printing by inkjet, to cover the surface of the glass with a thin film of titanium dioxide, better known as "Titania", which has the property of re-
Volume II — Number 51
acting with dirt particles covering the surface of glass with incidence of sunlight. Zari Husseini said that due to the speed of the reaction, this new type of glass will reduce the cost and time needed to clean the windows of tall buildings and skyscrapers in big Study author, Maryam Zari Hus-
Technology for Color under the Mi-
seini, Institute of Science and
nistry of Education of the Iranian
Homage to Picasso. tional concept of urban sculpture. Composed of a glass cube by sliding water for its exterior walls, all sitting in a small pond.
Chairs stacked, tied with ropes, white blankets deployed some phrases containing Picasso in the bottom, especially the one that says "a picture is not to deThe Homage to Picasso is locacorate a room, but a weapon of ted on Passeig Picasso, right in attack and defense against front of the Museum of Zoology enemy ", a statement of princiand Umbracle. ples endorsed Tàpies this monuIt is a work of Antoni Tapies i Puig ment and also with his work, of 1981 and departs from tradi-
complete the set. The conformity of an affluent society and the rebellion of other changes, were confronted by symbolically alluding to the nonconformity of Picasso. An Homage to Picasso sculpture as (Homage to Picasso) enables more evident that aspiration of Antoni Tapies that art can get to have a social function. The restoration, by Pere Casanovas, returned the monument to the city of Barcelona.
Montse Puñet to FITUR. The Community of Andalusia has invited an artisan for each of the provinces and Montse has been chosen to represent Málaga. Artisans have chosen a stand of 15 m2 and a screen to broadcast video or pictures over the manufacturing process of its products. Montse wants to present the topic "Glass, Malaga and the Phoenicians" with the caption "This is done in Málaga". Want to submit a video of how it works and other accounts and connect with historical roots, about this culture, have in their region of Axar-
Our friend Montse Puñet, stained glass of Torre del Mar, has been invited to participate in FITUR tourism fair to be held at IFEMA in Madrid between January 30 and February 3. www.amigosmava.org
quia. Congratulations for having achieved this selection and see you at the Fair.
The glass in Museums: Gordiola.
Volume II â€” Number 51
Talking about the history of glass in Mallorca is back to the time of the Phoenicians, who when deployed on the shoreline, in the second century BC, rode their glass melting tanks. Historians report that the island had its golden age of glass in times of Greek and Carthaginian domination.
The merchant who financed it was of Catalonia and Aragon, who sent his son from Barcelona to take charge of it. The young man had studied glass art in Venice, and was the first in a series of surnames Gordiola that continues to this day.
handicraft ancestral de Mallorca, which continues in the village of Campanet, where the oven s'Esgleieta Menestralia and ends at the end of Esporles Lafiore facilities, the third and final window of Mallorca company.
Objects created by the expert hands of artisans have nothing to The beautiful crafts Gordiola furnaenvy in art and beauty and both ces are present in all continents, firms have a deserved reputation With the supremacy of glassmaking have triumphed in major internatioinside and outside the island. in Venice, the Mallorcan imported nal exhibitions and installations and their glass and learned the art dumuseum is a must for characters of The Menestralia, founded in the sixring the sixteenth and seventeenth European royalty, heads of govern- ties, is characterized by a more ruscenturies. ment, ministers, artists and celebritic glass, opaque, of a colorful and ties Mallorca pass. unique colors and beauty that imIn the eighteenth century Mallorpresses. can glass reaches its splendor with The traditional process of blowing, glasses artistic workshops Gordiola "bufat" in Mallorca, you can appre- Their master craftsmen are emploCan that still exist and they produciate and admire during the deyed with skill and expertise to creace one of the most beautiful promonstration made by experienced te real Trinket. ducts Majorcan craftsmen and craftsmen in kilns Gordiola Can AlMaintain traditional methods of maworld-famous. gaida, open to the public with guinufacture of blown glass, which ded tours. Glass blowing is an ancient craft can be seen and appreciated visitechnique that requires great skill It is a spectacle of unparalleled ting your oven and its facilities. and a stranglehold. beauty, which shows the great skill The other company, Lafiore also inand experience of craftsmen in It works the glass to high temperaternationally renowned, manufacshaping artistic figures such wontures and is molded with a blowtures decorative pieces of glass art derful, decorative and unique. torch, the arising those forms an aland household objects in bright comost magical and colorful of extra- Can Gordiola objects (lamps, valors and forms, of great originality. ordinary beauty. ses and ornate stylized forms, botHis amphorae, vases, oil lamps are tles, glasses, ...) known for their deliThe domain and artisan creativity unique and the best of the island cate and unique shapes and beare essential to create these wonglass art. autiful colors, ranging from turquoiderful pieces to spread, melting, se to amber, to green, amethyst All pieces made by local artisan mixing colors or stick. and purple. glassmakers that are manufactured They usually use a metal straw to in furnaces are available Mallorca give those magnificent ways with Are considered true gems of craftsin the same facilities as well as volume inside. manship glazed, unique pieces of shops on the island and Palma airan ancient art. Can oven Gordiola the first. port. Lafiore Menestralia and also a The first artistic glass furnace is insOne of the best memories of the must. talled in Mallorca Can Gordiola, in most genuine and popular Mallor1719. Gordiola is the first of a tour of the can ancient art.
Volume II — Number 51
As emphasized by the various newsletters of our Association, the community association glazier is an urgent need, more than a convenience, in these times of risk of lost sales because of the difficulties they face, both business as economies household.
AVANCE, Friends of Glass Art, Core Central Spain.
rated between the components of society glazing can be the difference between survival and extinction. It is therefore good news that, at present, there are already six Associations glaziers nationwide. These associations are: ACAV, Catalan Association of the Arts of Glass. AVIVA, Glaziers Association of Valencia. AVIPAV, Glaziers Association of the Basque Country. AVIAN, Glaziers Association of Andalusia. AVICAMA, Glaziers Association of Castilla-La Mancha, and
Both ACAV as AVIVA and ad-
Therefore been included in each
vancement, and are formally
of the pages mentioned the links
constituted and the rest are vir-
of the web pages of many of the
tually, counting each with its co- glassmakers who perform their rresponding page on Facebook. jobs in the corresponding autoGiven the existence of these six
So any help that can be gene-
tual knowledge of each of its
associations in the virtual net-
Through the link "Like" Facebook
work Facebook has added a
pages, each of the members of
page to name FEAVI, Spanish
the network may insert any ad-
Federation of Glaziers, to form a
vertisement or informational mes-
social network that can accom-
sages about their activities, to be
modate all of our country artis-
known by the rest of the commu-
In this way, any news to be pu-
From these pages we congratu-
blished in one of the pages
late the promoters of these pa-
mentioned, except ACAV of ti-
ges for any help you are provi-
me, can be displayed on the
ding to allow diffusion of the ac-
website of the Federation.
tivities that the various compo-
Given that these dates are for
nents of the network.
participation in fairs and other
And autonomies that have not
events for many of the commu-
yet published their correspon-
nity members glazed, still not pu- ding virtual page we encourage blished the pages in Extremadu-
you, once the period of a rest af-
ra, Galicia, Castilla-Leon, Ara-
ter the effort in this Christmas
gon, Asturias, Cantabria, Balea-
season, join the network your pa-
ric and Canary Islands.
ge to complete the virtual net-
The first of the needs that the community itself is glazed mu-
work of all glassmakers.
The Treaty of Guadalupe Monastery Windows (VIII).
Volume II — Number 51
On the other hand, I have in mind how much times have changed in a matter of health, safety and hygiene at work and now I doubt glaziers, considering the high toxicity of lead, we melt in our workshops as has been done for centuries. Traçan of how easily the windows and the mode are set and how emplomarlas In this extensive chapter covers a variety of topics.
Fernando Cortes Pizarro.
But as "oh this is not çerteça seAn interesting tip is made by the curity ...", the proposed empiriauthor at the end of this chapter cal method to know if the tin is good is as follows: "... after rewhen he says that it is better to buelto cast well with a stick in a stretch leads "just baçiados", that is, when fresh, because af- Rillera be cast, and if not in the floor ... And look at you if you ter a few days they become miss this complexion bejigas "stale" and lose their luster. above shows a size as lentils, In this case "... is gratarán and and not less, and are distant cleaned with a rough cloth be- from one another. Then you cause if you have orrura or pol- have your period. " bo, pedaços echos out". Similarly, based on experience, Indeed, one of the best known the method proposed by the properties of lead is the rapid formation of a protective surfa- author to know if the lead used ce oxidation, which must be re- for mixing with tin is "fine", it moved both to pass through the would be this: "... shall cast a bit and Aras a bull of a quarta of wheel as for soldering. long and a finger thick, more or Luck that makes others call welless, and if you torçieres easily ding mediate and without much violence be fine. " The term "welding" as is used herein, refers to tin solder and not to act with tin lead solder. The profiles of lead, as soft metal, traditionally welded tin, with the formula used by the author of the treaty for the development of "jimmies" welding-rodtraditional 1:1, or in his own words: "Jaguars lead four thin tin likewise", with the exception of the welds of leads in the "old windows", for which the ratio would be best six ounces of lead and tin 4.
As from the beginning has been best exemplified that the objective of the treaty is the train monks to perform the work required in the monastery windows, glazed both new and restoration, the author assumes that each using one of the many drawings offered at the end of the manuscript, so it really does not stop to teach "traçar" new grounds or draw the cards needed.
Of course, tells us that "... the curious may ynbentar many more like him ..." is the only advice he gives that "... always try to choose those that are too strong and more lasting ... and, above all, that advantage the bedrio every thing were possible ... ". His strong character Saver takes you to criticize those teachers doing "... boast and show off what alcança its sugar mill ..." windows maAlso, "The barrettes tin bending de of "good looking" but very exthem know if they are thin hands pensive, betting him rather by slowly, and if they do squeak those "... who are strong and noise when they are given ben- aprobecha all glass ", as the ding are fine, and if not ACEN square glass windows," mui quaare mixed". les are to my taste ... ". Reading these tips you realize that in fact some of the operations traditionally performed glassmakers themselves have changed a lot and I can not but rejoice that how easy it is today we entrust our regular supplier of a tin box 50/50%, and that's it.
Referring to the author how much it costs to bring the glass sheets to the Monastery from Cuenca and find one to do, gives us an interesting fact about the centers colorless glass production in the mid-seventeenth century, when on the that we have little information.
Recycling. The glass tram.
Volume II â€” Number 51
'You recycle or collejas' about recycling and also gave them information and brochures This action is part of the camto raise awareness about recypaign 'you recycle or collejas', cling glass. launched by Ecovidrio in collaFurthermore, students in their fiboration with the Ministry of the nal years of primary education Presidency, with the aim of reof 15 schools in the city of Murmoving, in a humorous way, the cia have been the first to make arguments that some people use the crossing aboard the 'Tram for not recycling their packaging Glass', during which knew the glass and promote prevention, benefits of recycling and dama- stimulating the reduction of the ges of not recycling glass provolume of waste generated. perly, the different stages of the The campaign will serve to furtprocess of glass recycling and her strengthen the region's cultuThe initiative has special scena- reuse to make new glass contaire of recycling of glass packario 1 tram line from the city of ners, achieving numerous enviging waste deposited in the greMurcia, along which environronmental benefits. en bins, which in 2011 collected mental educators tried to relay Thus, the line 1 tram of Murcia 21,510 tons of glass containers in to the public the importance of has become 'The Glass Tram' to the Community, ie, 4 percent their role in the recycling of glass accommodate this action to rai- more than in 2010. and basic knowledge to carry se the hand of trained environout right way. In that period, the residents of mental educators, who have althe city of Murcia were the most Environmental Educators, loca- so provided educational materecycled glass with 6982 tons, foted at stops busiest tram line 1, rials. llowed by citizens of Cartagena resolved all doubts that might (2,520 tons), Molina de Segura have tram users and citizens (995) and Lorca (809). The Ministry of Presidency and partnership Ecovidrio nonprofit dedicated to manage the collection of glass containers, launched an information and awareness campaign with 'The Glass tram', which aimed to raise awareness among children, users Murcia tram and citizens of the importance of recycling glass containers, especially at Christmas time, a period of high consumption of this type of packaging.
Jewelry Exhibition La Granja.
Volume II â€” Number 51
Three centuries after its creation, of types and decoration of the
can be enjoyed on a "daily ta-
the Royal Glass Factory of La
time "also committed to making
ble" or sometimes "special".
Granja (Segovia) technique
the "traditional way" their crea-
maintains blown glass to create
models of the eighteenth century, which are now highly topical. In order to show a selection of current pieces, made with the taste and quality of another time, there has been a small ex-
"replaceable" in case some bre-
Innovation has hand built forms
ak, since the thirty basic types
"latest" in line with today's tastes,
continue developing the factory.
but retaining the same quality of glass. Jugs, cups, bottles, garrafillas,
hibition called "The Jewels of the table lamps, vases or clear glass crystal of La Granja" Modern Ti-
bottles, the traditional engraved
mes Gallery in Madrid.
gold opalescent or are some
Carmen Palacios, the owner, ex-
These pieces are easily
parts that you can see and buy.
When it comes to elements of a "custom glassware" save the template with the initials "just happens that eventuality." Although current production of The Farm Factory "is very low" is a training workshop of craftsmen
plained to Efe that this crystal is
"These are pieces that have a
glassblowers research and cabi-
so precious because the facto-
highly recognized," said Pala-
net to endure the technique.
ry, "which began when all the
cios, which at one time had ac-
decorative arts were in full swing cess only royalty and nobility, in Europe" still has the "tradition"
but now are "affordable" and
The exhibition is open until 5 January.
Our activities. In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2013.
Cultural Tours. This January we're going to give us a tour and visit to Malaga and Montse Puñet Manolo, her husband, who are developing a glass workshop at the Centro Comer-
Volume II — Number 51
cial Larios. Montse develops his work in the neighborhood of Torre del Mar,
through his workshops. On their website you can see examples of the variety of techniques used to make parts. Also visit the workshop of José Luis Camacho and back to Alberto Cascón in his workshop Viarca.
Velez Malaga Township, with a
And, of course, we will use the trip
workshop called Vitral.
to walk around the pretty villages
But do not lose the opportunity to spread the culture of glass
that are located in the province of Andalusia.
Culture 2013 Programme. works, the relationship with his city Hall. Finally, I could not miss a visit to the Museo Thyssen, which features 267 works forming part of the Carmen Thyssen-Bornemisza collection, and makes a journey through the different genres of nineteenth-century Spanish painting, framed painting chronological period between Figures of Francisco de Goya and Pablo Picasso, paying particular attention to the Andalusian painting. It revolves around four ideas. First, it was the chapel of the Palacio de Villalon houses all works of "Old Masters," which, by way of introduction, dating back to the seventeenth century, with Francisco de Zurbarán and Jeronimo Ezquerra, head. The second section is titled "Romantic landscape and manners", reflecting the view that the romantic travelers were from Spain, This January, and making our trip
political and aesthetic of contem-
to Malaga, we visit some of the
museums that are based in this Andalusian city.
Also visit the Municipal Heritage Museum, whose base of funds co-
The first will be the Contemporary
llection contains more than 4,000
Art Center, a museum that aims at
pieces owned by the city of Mála-
the dissemination of visual arts
ga, since the creation of the first
from the last third of the twentieth
city council in 1487 to the present,
century to the present.
and includes documentation of his-
The CAC Málaga has established
torical value and a voluminous li-
his past, Moorish architecture, the gypsies, bullfights, fiestas, flamenco, etc.. Below is the section on the "preciousness and naturalistic landscape". As a finishing touch, the part called "End of the Century" that reveals how Spanish painting of the late nineteenth century began to talk openly with internatio-
nal painting. Joaquin Sorolla, Aure-
tially inspired by the German mo-
For permanent exhibition were se-
Ramón Casas, Ricard Canals, Fran-
del of "Kunsthaus", this is intended
lected over 90 works.
cisco José Gutiérrez Solana Iturrino
an innovative program in Spain ini-
as a "House of Art" dynamic, open to new trends, forms of expression and social concerns, conceptual,
His organization, structured in chronological presentations, serves to explain thematic units, from the
liano de Beruete, Darius Regoyos,
or are some of its exponents. Special mention in this period deserve Ignacio Zuloaga and Julio Romero de Torres.
Exhibition of Olga Anton.
sample of this artistic association Zamora? - I do not know, because we are preparing a project for a room in Pontevedra. It is a project focused on the body as its theme. On this point each member work we
Volume II — Number 51
developed techniques. This exhibition will be a logical evolution of my work. -You are driving the project to convert the old jail in the City of Arts. How is this proposal? -Stands, but is an idea that no waste because I find it very inteThe artist Olga Anton forth in the
what it means to work, but still
resting for the city of Zamora. The
Marina room thirty pieces.
give more information that per-
project would make a city of the
-Displays most recent works and
son can take over the room, ta-
arts in the fall on the important
some pieces created in the last
ke her land and seek their own
content, one of the problems
four years, after a long time wit-
that have occurred in this coun-
hout exposing in Zamora.
-Always combines various mate- try since the buildings have been made without content. The builrials. Why?
-Since returning to Zamora I searched a room where exposed, since I am Zamora and I wanted people to know my work. It was difficult to get a place to exhibit, although I must admit that the deputy of Culture, José Luis Bermúdez, offered me the room of the Incarnation but my work in this context do not see it. "Thought and skin" is the title of the show because all my work is what I feel and what I think. I located a self start because my
ding we have and he could go
-Is a constant in my work. First I
hosted remarkable art collection
have the idea and then I think
in the country. Furthermore, this
how I can reflect that thought in project has the advantage that a work and when I have more or it could be gradually rehabilitaless clear what elements I can
ting the old penitentiary modules
be reflected. If no bet by a wide so it would be viable despite the range of materials would think crisis. You have created a partvery poor. I think the combine as nership to support the project many artistic materials is a neand who want to belong may cessity that I have in the same
request an application at the
way that almost do not need
color. I use metal, hard and nontransferable. I also use glass be-
-In the event of the arrival of the
it gives me the feeling of
-I disagree, I think it's fine where it
is now. In Zamora scarce sculptu-
sculptures through letters ap-
-You are part of the art collecti-
res outside the Easter and reli-
proached the viewer an idea of
ve "Three in short." When for a
definition. The viewer sees my
cause it is transparent, is somew- ashes of the city Eduardo Barron essence and then meet my artishat fragile, but it is not penetra- grandson asked again Viriato tic production. ble pass at her, which is a game sculpture amid the plaza sup-All his work has in common the I like, and the color red because ports change? use of the letters. - The word seems essential. In my
Vitrics. Amorfic Objects.
It will monitor work in Craft and Design and aims provide the independent craftsman and methodology, in order to meet new product projects, developing a platform to showcase their innovations.
Volume II — Number 51
Through a specific methodology, based on the analysis and the creation of proposals, as different types of design. The workshop will focus on product innovation glass manufacturers and glass craft workshops. To create a small collection of products together. Each participant will create their own proposals being discussed, analyzed and critiqued by all participants. If the results are satisfactory if they decide to all do a physical exhibition and publish a catalog. For the presentation of the workshop, the graphic image has been crafted to present the properties of glass, luster, ductility, beauty and delicacy.
Vitrics Innovation is a workshop in glass products, organized by the Catalan Association of the Arts of Glass (ACAV), which takes place over three Saturdays in l'Aventurine Can, Can Fusteret, a l'Atmetlla del Vallès. Saturdays November 17, 2012 December 15, 2012
January 12, 2013 The workshop has been driven by the interest of the board in joint activities that make news, support, support and vision sofistiquen working with glass in Catalunya. The workshop is directed by Guillem Ferran i Josep Roman.
The work is printed on recycled paper six posters, which are covered with three geometric shapes, a sphere, a tetrahedron and a cube to support and improve the readability of the information. The result is a graphic element that provides a neutral musicality timelessness ductility and the message.
Other trends. Agony CSIC budget.
Volume II — Number 51
year, reaching 214 million euros in 2012.
Article written by Alicia Duran, researcher of the Institute of Ceramics and Glass.
The State Agency for National Research Council (CSIC) was established by Royal Decree 1730/2007, of December 21, RD in approving its Statute. The change in legal status of independent commercial agency meant changes in structure and governing bodies, and also in the development and management of their budgets. Indeed, until 2007, before the implementation of the Agency's budget CSIC in PGE incorporating 46 function, and comprised mainly of state subsidies in the individual chapters (personal, current expenditures, current and capital transfers, investments, etc..). However Agency Law and RD CSIC developing the Agency states that: 1. The CSIC is financed following resources: a) The transfers reflected in the State Budget. b) The revenues received as a consideration for activities that can perform under contracts, agreements or legal provision to other public and private entities or individuals. c) Revenue from the sale of goods and values that constitute their heritage. d) The yield from their property and values. e) Voluntary contributions, donations, legacies and bequests and other contributions gratuitously private entities and individuals. f) Income received from natural or legal persons as a result of the sponsorship of activities or facilities. g) The transfer of public funds arising from participation in competitive funding of projects or research grants. h) Other income from public or private body is authorized to collect. i) Any other resources that might be attributed. In addition, the CSIC will be funded from appropriations provided in Chapter VIII of the State Budget and awarded by public competition to fund research and development projects, with the limits annually in the Budget Act and State to the extent that has the capacity to generate sufficient own resources. The legal regime change led to the amendment of the rules of preparation of the draft budget, as set by the Ministry of Economy and Finance. In particular, and as of 2009 CSIC budgets include its equity, which stood at around 200 million euros per
Inclusion in the formerly known PGE Commercial Operations (selffinancing achieved by researchers in competitive projects of the National Plan, the EU Framework Programme, regional programs, contracts with industry or technical assistance) required by this new situation Agency, masks the subsidy reduction from 622.7 M € in 2008 to 412 M € in 2013, a fall of 34% that no body can withstand without breaking. This reduction is reflected in the reduction of almost 1400 spaces and fixed labor officials since 2010, a result of the amortization of non-renewal of vacancies and retirements. Another troubling aspect of this fall is derivative that transfers the state in 2013 are insufficient to cover the chapter staff, with a deficit of more than 15.9 M €, which adds to the deficit of 20 M € in 2012 and that be paid with equity. Projects made by researchers, self-financing of the centers have character finalist and therefore can not be used to cover the deficit in the government accounts. But these assumptions are effectively forcing wages to cover their own resources.
transfers), the budget CSIC income. Resolved the notice, the agency got more than 70 M €, demonstrating its ability and efficiency for the preparation of their budgets adjusted. For 2013 the CSIC PGE again the same total budget of 66.3 M € in this concept. However, this year the General Comptroller of the State Administration has banned this heading include the National Plan in the PDB CSIC, giving no coherent explanation. In fact, the comptroller of CSIC has not changed and has been responsible for stamping the budgets in previous years, which were included in this revenue. The failure to include these resources has led to a net reduction of 10% in the 2013 budget compared to CSIC 2012. This opens the possibility of presenting EREs in the temporary workforce, fixed and indefinite. Situation far from the result if they had included the income in question, which would put the fall in the vicinity of 3%.
With this ban, the government clearly violated the Agency Law, which requires inclusion in PGE CSIC Agency self-funding, as has been done in the last four years (2009-2012). Strangulation CSIC budget and budget tricks that aggravate its financial situation, On the other hand, cuts 2012 must are difficult to understand and that be added the fall in current transfers put the largest research center in the and Chapter 2 overhead at 12%, the country in real danger of default. Unsharp cut of 23% in investment and less a maneuver to reach 10% of total the drastic fall of 43% on capital reduction paving the way for a retransfers PGE 2013. A policy that jeo- dundancy of the workforce. pardizes the normal development of So much for the facts, explanations the activity and the efficient use of involving the rule change without new equipment forgetting that budgeting breach unmitigated scientific investments not just to buy Agency Law. There is no justification the equipment they need to keep for reducing the budget gimmicks them. trileros own, condemning greater unThe program of Technical Staff Traicertainty to public research in this ning and Research of the CSIC, country and its more than 14,000 worgrants / contracts JAE, still losing rekers. sources (-45% and - 6 M €) minimized Therefore we urge the government to from the 30.2 M € that had the prochange the 2013 budget to include gram in 2009. It has been announthe estimated revenue for the Natioced that in 2012 and 2013 there will nal Plan. PGE approved the amendbe calls for new grants / contracts ments were not accepted and it seand discusses how to pay the conems that the situation has changed. tracts already awarded under this program, a strategic part of the AcThe announcement of a loan requestion Plan 2010-2013. ted by the European institutions to Reducing budgets CSIC, which star- alleviate the situation MINECO agented life as CSIC Agency in 2008-2009, cy under the Ministry of Science and Innovation does not solve the proempty of content means the very blem but it could delay its resolution figure of the Agency, as there is no effective budgets to provide its con- facilitating the negotiation and the search for alternatives. tract program. The Strategic Plan and in all areas of knowledge institutes, together with the study of the mechanisms of evaluation activity results appear as a dead letter, questioning the reliability and stability of government policies that have managed the crisis .
Meanwhile fateful goodbye one year for Spanish science grows widespread rejection of researchers across the country and information about the chaotic situation in magazines and the media worldwide.
Among the desires of this new year, presented hard and difficult, there is no doubt that we must include the survival of the Spanish system of science and technology, a system PGE in 2012 were budgeted as reve- that we built over the last 30 years, nue 66 M € National Plan, 44.3 million now is a guarantee of good science in projects and 22 million more for FPI and an indispensable tool for managing change in the economic model contracts allocated to these prothat allows us to overcome the crisis. jects, 31% of Chapter 7 (capital However, even in a crisis scenario, the agency continues to get national projects and European resources returning.
Repair in the Cathedral of Valencia.
Volume II — Number 51
The Cathedral of Valencia has placed last December have repaired the window of the classroom students-glass workshop Caritas Valencia in recent months.
or the date of placement", explains the expert Maria Jose Hidalgo estimates that the windows are of the eighteenth century, "by the type of blown glass."
This is the window of the sacristy which overlooks the square and Almoina representing the four evangelists.
The glass has been subjected to numerous tests to find the same shade of paint and removed the old plumb.
Some of his glasses "were broken and other intervention pieces had suffered before and were badly damaged," according to the agency indicated AVAN sources Caritas classroomworkshop.
Also, the windows have been cleaned of dirt accumulated over the years and the smoke from the fire embedded suffered the Cathedral in 1936.
"We have analyzed the glass used to use one of similar characteristics, because there was no other data or information on these windows, and the workshop in which they were made,
of San Mateo," said Maria Jose Hidalgo.
After visiting the workshop students to the Cathedral to see The restoration has previously led the window were removed daa process of research and study maged parts were replaced by that has lasted several months wooden planks. and has been coordinated by Subsequently, the entire set was María José Hidalgo, stained glass teacher for 34 years at the photographed and sketched High School of Art and Design in following the original pattern. Valencia and works as a volun"Missing one of the panels that teer in the classroom- Caritas we had to design, the part coworkshop. rresponding to the angel's head
The glass room, which is called "Horeb Project" located at premises in the parish of San Miguel de Soternes Mislata, offers trai-
ning courses for learning treatment and handling of the glass, and the use of specific machinery. Currently ten students served by seven volunteers are participating in the project. The workshop is intended primarily "to immigrants without regularization, users floors Caritas, as a way to learn a trade and provide a productive activity that will provide some income for their livelihood."
Glass factory in Aranjuez (I).
Volume II — Number 51
The chronicler José Luis Lindos us a little more about the history of Aranjuez with these episodes, today is about the soap and glass factories.
ral substance which proved sulphate of soda mixed with a small quantity of soda subcarbonate.
"During the winter trasudan saliAlthough they have little inforne waters of the bottom of a mation about these two episopond, and in the summer due to des we're going to try, some evaporation concentrates the allow us to approach these early liquid, and reached a certain industries of the early nineteenth degree of concentration, depocentury in the regal surrounsited in the form of more or less dings, when Aranjuez missing at regular crystals of salt was in soleast ten years to form the coas- lution. " tal Consistory. In unison of the installation of the Just ended the Revolutionary factory installed glass Rafael de War in Spain, one of the first inRodas asked the King the priviledustries to settle in Aranjuez is a ge to build another soap. business that installs Madrid: RaThe industrial capital in this solufael de Rhodes. tion was a substance that could A component used in the first in- make soap and rival the best sodustry led him to create the seaps from Marseille (France). cond. The methodology for preparing Over the years other factories the soap was carried out using are being established in Aranartificial soda that made attajuez and industries, such as Fran- ching it to the sodium sulfate cisco Nard in Aranjuez Guide proffered this field "so no need 1851, and in 1845 referred to to transform the hydrochloride in Aranjuez, which had a populasodium sulphate, as is done in tion of 897 inhabitants and 5245, France in such factories. had the mill industry chocolate The amount of sodium sulfate factories hollow and flat glass, that is removed from the Salinas soap and a fireplace barrilla vede Espartinas is so great that not ry high, leather, wood, etc.. only was enough for the factory The soap factory spending that time in nine years, but also has been taken to sell One of the first news we have in the public lots of soda artificial, this industry, is offered by the to use instead of the bland of newspaper El Mercurio in Spain Spain in these years that there in September 1826. has been little barrilla harvest. " On June 15 the employer Rhodes Madrid Rafael in Paris had published a pamphlet on minerals, I read person at the Pharmacy Society of Spain. Rhodes, was an astute businessman and nine years ago he had seen in an area near Salinas de Aranjuez Espartinas calls where formed in certain times a mine-
the curious observation of Mr. Rhodes, merited special consideration. With that I asked Mr. Rhodes to send me an amount of said sodium sulfate, and indeed was kind enough to send me samples that I have examined. " The journalist told in this newspaper of the comprehensive report that Mr. Cordier referred the geologist as to the composition of the salt and the benefits that could be obtained on the basis of high purity. The composition of the salt contained Espartina: 99.78 sodium sulphate and sodium subcarbonate 0.22. The journalist proposed to be given to this soda Espartinas sulfated thenardite name, in honor of a distinguished scholar Thenar. Regarding the tumbleweed that was obtained by harvesting as the Dictionary of Arts and Manufactures of Agriculture and Mines published in 1856, details the following. "Fuck the plant meets in a few holes open ground, set alight, and burning and melting, you get the same as the soda, which is the wild barilla, a mineral substance just appreciated for manufacturing soap, glass and other industrial products. "
While Rhodes Rafael regentó possession for years in this industry that was installed in Alpajés According to this media, the dis- Viejo, the last reference to specicovery of the artificial soda was fications is offered by the Cadasimportant in that it could be tral Decree on 1 May 1868, saused in glass making. ying that an extension of something else of 2200 meters, now the "More like so far not been found property of Braulio Fernandez Arin nature sulfate sodium salt nedo, but with little or no activity completely prívate marine salt from here. and limestone magnesias, I found that relatively to science,
The Dolphin Treasure (II) . not coincide with their traditional
names. To this must be added the presence of precious stones (diamond, sapphire, ruby, emerald) and thin (turquoise, amethyst, garnet, peridot, etc..), Not to mention the pearls are of go-
Volume II — Number 51
od size and tiny seed pearls. The fittings are usually gold, although there are also white and gold silver and, rarely, copper or brass, and are often supplemented with rich enamel. Iconographic sources are diverExposed since then discovers a
In 1986, a study by gemological
se, from Old Testament passages
serious looting in 1918, because
specialists Collection School of
related to water and wine to
of the continuing thefts of an
Gemology of the Autonomous
Ovid's Metamorphoses and dra-
employee of the Museum.
University of Madrid, supplemen- wings such as Androuet du Certing the one conducted in 1839 ceau and Étienne Delaune in
This leads to the disappearance of eleven pieces and deterioration of thirty-five.
by the Governing Board of the
what refers to figurative decora-
Museum of Natural Sciences,
which is trying to argue the im-
In 1937 are moved to Switzer-
portance of jewelry as mineralo-
land, returning in 1939 with losses gical specimens. in a glass. After attempts to Pedro de Ma-
ped vessels in rock crystals
being colorless, and what has
gulo Iñiguez exposes in 1944 a
come to be called "colored
brief catalog of the surviving ves- gems' or 'hard stones', including sels, warning that it was in fact a
the group of jades, European
guide, although several reissues
and Oriental, among which a
occasions, most recently in 1989, unique variant of the type jadeinow deceased author, during
te "imperial jade" Amazing quali-
the new installation of the jewels
ty, traditionally was called
in the safe house, as they had
"plasma emerald", believing that
been withdrawn in 1976.
was the mother of emerald,
whole came to Spain.
from different periods, highlighting the Enea Vico and sevente-
er published in 1923, Diego An-
talog raisonné, including the
sed on ornamental repertoire
As for his art, traditionally grou-
drazo and inventory Joaquin De- (Clear Quartz), separated by
In 2001, finally published the ca-
The decorative elements are ba-
agate, numerous in all its variants, onyx, agate amygdaloid, banded, ruinous, the chalcedony, including carnelian and
His timing is also very wide, because if we look at the work in stone, there are examples from the classical period and the Middle Ages, with some important examples, presumably Hellenistic, Sassanids and Byzantines, and a tubular glass Rhine possibly carved in the thirteenth century, today part of a jug and a dish old, with an eagle carved in its center, which belonged to several French monarchs and the Emperor Charles V.
Apart from some interventions,
chalk or heliotrope, recogniza-
The group's rock crystals, mostly
know that the jewels were resto-
ble by their red spots on green
work best known Milanese works-
red at least twice: first in 1866 by
field, the lapis lazuli from diverse
hops, among them the family
the goldsmith Peter Zaldos, wit-
backgrounds; Jaspers various
and Sarachi Miseroni, who also
hout adding or removing any
colors: red, green, yellow, multi-
work colored stones, and Metelli-
parts," and, in 1982-1983, by a te- color, citrine, smoky quartz, seram of then Institute for Conservation and Restoration of Cultural Property, under the direction of Carmen Saldaña.
pentine, alabaster, etc.. Often the scientific names of these and other variations do
no workshop, and other smaller workshops, as yet unidentified, called provisionally "workshop of the roses" and "Workshop of the eagles."
LU Murano in China.
Volume II â€” Number 51
Until January 31, 2013, Lu Mura-
lamps capture the attention of
no lamps will be exhibited at
visitors as one of the greatest ex-
"Tradizione e Innovazione - L'Ita-
pressions of territory, culture and
lia in Cina" right in the Italian
Center Shanghai, the Italian Hall transformed into a venue for cultural exchange between China and Italy, developed at the Milan Triennale.
The ancient art of glass by Master Fornasier become a reality being modeled evolving, keeping safe their historical and cultural roots.
The exhibition is devoted to Italy in China and presented to the Chinese public art, fashion, design, craft and technology related Italian Chinese culture. In this framework, LU Murano
LU Murano, the collection As an exclusive collection of Vetreria Fornasier Luigi di Murano, LU is a unique concept, revolutionary and traditional. LU Murano collection offers us the vision of an artist entrepreneur, Fornasier Luigi, and his creation, conceived as a masterpiece,
Synthesis of the union between
which later evolved into unique
design and craftsmanship, LU
chandeliers for sale.
Murano represents a successful blend of high-end craftsmanship and contemporary art, technological creativity and tradition.
Completely handmade blown, this lamp, completely transparent, is expressed through a contemporary and innovative design.
Exposition in Villaviciosa (Asturias).
Volume II — Number 51
Carmen Soberado is a stained glass Villaviciosa who has specialized in the development and restoration of stained glass, mostly of religious themes. A sample of his work has been exhibited at The Café de Vicente, the town, where he remained until the end of last month. In this same 'Artist's Corner' and exhibited a few months of his tapestries. This is another area in which highlights the multifaceted maliayesa. Soberado explains that there are several styles that will usually work these works of art in glass, but she is an expert in so-called leaded lights. Defined in a simple stating that they are "classic" and we are used to seeing in the temples. In fact, its main customer is the Church. Recognizes that years ago worked well enough for individuals, but the blow of the crisis to households has been a drastic reduction in orders for private persons. The stained glass maliayesa states that the creation of one of these works is to try "the glass like a puzzle and fit lead", hence the name "leaded." But not just a matter of fitting
these parts, it is also important the process of painting the figure or representation made. Carmen Soberado learned this art in a shop where you purchased Lion keys this technique before making the leap to France. Specifically stood in Chartres for training in the school of his cathedral, where the 176 windows cover the largest area in the world of stained glass (2,600 square meters). Dating from the twelfth and thirteenth centuries, known for their preservation and are internationally known for its famous "Chartres blue".
Besides repairing the windows side, several works are being undertaken in the temple since last October 15. Consist also scrape and paint on the interior walls of the three ships of the temple and the stone washing. For now you have to postpone, but also scheduled cleanup and restoration of the main altar. The role of Carmen in the Basilica Soberado Llanes is to restore the mantle of the Virgin of the Guide one of the windows.
In addition, says it is "preparing After passing through one of the the image of St. Francis of Assisi." In addition to a representation of world reference schools in this the Czech painter and decoratiarea, the suitcase did Carmen ve artist Alphonse Mucha, widely Soberado to go to Segovia. recognized as one of the leaHis next destination was La ding exponents of the "art nouGranja de San Ildefonso, which veau" this stained glass maliayewas steeped in the knowledge sa crystal displays an image of of the Italian masters who perSanta Barbara, patron saint of formed in the course of painting. miners. Soberado specializes in creating It also examines whether another new and restoring stained glass of the works exhibited at the Café de Vicente Villaviciosa to in temples of the region. be a family crest or other work. The Church is the lead plaintiff in Ensures that have not been decithis type of work, especially sinded. ce the market has suffered. Through this link you can see the Right now is immersed in various video report in which the author tasks of the Basilica of Santa Ma- presents the exhibition, explains ria del Conceyu Llanes. the technique, etc.
Volume II — Number 51
This month we include some pictures of the technique practiced by Jon Kuhn.
Exhibition of Nativity scenes in La Granja.
tation of Christmas a freshness, an ingenuity and imagination, which hardly admit when using the finest materials. The exhibition will be located in the First Dome Tech Museum of Glass in the Royal Glass Factory of La Granja, staying open until
Volume II â€” Number 51
31 January 2013. Timetable: Tuesdays to Fridays, Sundays and public holidays from 10.00 to 15.00h. Saturday: from 10.00 to 18.00. (On December 25, and 1 and 6 January closed) The Royal Glass Factory of La Granja, created in 1727, is an institution dedicated to the promotion, development, education, research and dissemination of craftsmanship and history of glass manufacture artistic and cultural activities and other related scientific and technical the art of glass. Work areas are mainly focused on the museum, which receives 70,000 visitors, the School of Glass XII CRIB EXHIBITION
Christmas and Epiphany in all
From December 21 will be expo-
kinds of materials such as clay,
sed the Nativity Scene Exhibition XII in National Glass Foundation. For the twelfth consecutive year, the National Glass Centre Foundation wants to celebrate Christ-
porcelain, glass, metals, textiles, wood, plant products, ivory, seeds, pumpkins, corn husks or banana peel walnut, coconut or egg, stone and even paper.
Studies imparting secondary and higher education, as well as specialized courses in international, and finally the technical or manufacturing area dedicated to the realization reproductions of utilitarian and decorative glass molds eighteenth century.
mas publicly showing a major ex- We used these materials to create different representations hibition of Nativity scenes, from
The Royal Factory has been de-
the most remote places. The ex-
Government of Castile and Le-
hibition brings together nearly a thousand performances of
of the Nativity, where aspects of real life, local, regional, and even staff to provide represen-
clared of cultural interest by the on.
VII Anniversary in Pamplona. created with feathers, fabrics
and papers crammed. His work is also characterized by the mixture of paint with glass element that feels love. The anniversary celebration also served to announce the transfer of local 52 m2 to move to anot-
Volume II — Number 51
her larger, where the public can see all his work at street level. Anyone interested in following his path and to locate it in its new location may do so through www.agustinaguirre.com, Facebook and pilpilean.net Congratulations to this innovatiOn Saturday December 29 2012
On the other hand, who came
ve artist, his work and career, is
Agustín Aguirre Artistic Workshop
to the event also attended the
still a reference differentiator of
held its 7th anniversary.
opening of an exhibition of pain- artistic culture in Pamplona!
As from the first anniversary since opening his shop and workshop in Castle Square 23 Pamplona, the celebration was a popular character.
tings, Augustine Aguirre is performing both nationally and internationally (Yamaguchi, Milan, Brussels, Stockholm ...) and that these days wants to share Navarre with art lovers (his works can
Attracted by the sound of lively
be visited in Castle Square 23
trikitixas and tambourines, large
and in the window of C / Berga-
crowds came to celebrate with
min No. 29, (old gift shop
this family pamplonesa what
they consider it an honor: the joy of bringing seven years serving customers!
As the artist says, his works are born from the heart and are expressions of feelings and sensa-
In these seven years have made dreams come true in design and decoration of many people with its unique creative works in art glass, (both personal adornment and decoration: household,
tions. In these creations Agustín Aguirre did not use the traditional tools of a painter, brushes or palette knives, but his work has been
commercial and institutions).
The Glass House. tect when required, in which case
it could be accessed through a hidden passageway, accessible through the core of the bathroom, which connects both houses. Solid and opaque (although endowed with large windows that fill the interior light), retains the same dimensions and is practically fa-
Volume II â€” Number 51
cing the glass house. Johnson was completed with new volumes all over the years. Some had specific functions (the study and galleries of painting and sculpture, designed to retain an enviable art collection). The Glass House was built by Philip Johnson referred to his house as
Others were simply called his
Johnson at the top of a hill in New "his diary of fifty years."
"follies" experiments which preven-
Canaan, Connecticut, as their
ted volumetry be allocated to a
own weekend house.
A single rectangular space of 10 x 17 meters contains bedroom, li-
specific use (Lake Pavilion, Ghost House, Da Monsta).
Known as paradigm of transpa-
ving room, bathroom (inside a
rency and minimalism, the house
brick cylinder that visually anchor A total of fourteen buildings sprethe house to the ground) and a ad over an area of 190,000 square
was completed in 1949, and the architect lived there ever since until he died in 2005. The concept of the glass box of
kitchen with a long bar that facili- meters. tated the celebration of cockIn recent years, the Glass House tails.
has become a place of pilgrima-
the ideas of Mies van der Rohe,
In fact, Johnson, first curator of
ge for architects and students,
and in fact it is easy to see the re-
MoMA's department of architec-
and those who have visited say
semblance of the Glass House
ture in the 30s, belonged to the
have felt surrounded by nature
with early drawings of the Farns-
intellectual and artistic elite part-
and immersed in an atmosphere
ying in New York and the Glass
of contemplation, perhaps remi-
House were frequent throughout
niscent of that Philip Johnson him-
self experienced at the end of her
In an article in the Architectural Review in 1950, Johnson admitted
feeling indebted to his teacher for Visualize to Andy Warhol, John life. It is said that when Mies, who was extremely painstaking, went to visit the Glass House was appalled at the insensitivity of that constructive version of its glass case. He refused to spend the night and left very angry, which is understandable if we also take into account that his pupil had preceded him: the Farnsworth House would take two years to complete.
Cage and some advanced stu-
However, it is undeniable that for
dent in Yale Johnson as Robert
many years this was a house full of
AM Stern, discussing animatedly
life, interesting discussions, artistic
with a martini glass in hand and
events, laughter and friendship.
oaks and maples reflected in the
glass as a backdrop. Like all extremes, transparency of the Glass House needed a counterpoint to allow the shelter inhabitant of exposure was seen
"I designed the Glass House to make people feel good." 's The video of a dance event organized by Merce Cunningham in
inevitably subject: the Brick Hou-
the house in 1967.
It was billed as a "Country Happe-
Built at the same time as that of
ning", and ended with a concert
glass, brick house facilities housed by The Velvet Underground. and provided privacy to archiwww.amigosmava.org
Congratulations Christmas stained glass (I).
Volume II â€” Number 51
Congratulations Christmas stained glass (II).
Volume II — Number 51
Congratulations Christmas stained glass (III).
Volume II — Number 51
Nuestro Boletín tiene su redacción en:
Castillo de San José de Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID
Volume II — Number 51
Al vidrio por la cultura
Javier Gómez Gómez
Rosa García Montemayor
Evangelina del Poyo
Miguel Angel Carretero Gómez
Diego Martín García
Francisco Martín García
Pablo Bravo García
José María Gallardo Breña
Mª Luisa Martínez García.
Teresa Fernández Romojaro
The purpose of this Association is to promote, encourage and support many cultural activities in the broadest terms, are related to the mission and activities of the Glass Art Museum of Alcorcon. Our goal is to develop and collaborate with other public or private entities to promote, protect and promote the art and culture.
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with existing management.
Tesorera Mª Angeles Cañas Santos
Line of research. Images.
Volume II — Number 51
Volume II — Number 51 January 2013
David Magan. Images.
ICOM in Museum VICAL. Images.
Volume II — Number 51
ICOM Directors Mayan ceremony
Volume II — Number 51 January 2013
La Granja. Images.
Published on Jan 7, 2013
Bulletin No. 51 for the month of January 2013 of the Association of Friends of the Museum of Art Glass Alcorcon.