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LECTURES

The British Society of Master Glass Painters is fortunate to attract many eminent speakers on stained and architectural glass from amongst its UK and international membership and beyond. Subjects range from modern to mediaeval, brought to life by the enthusiasm and expertise of historians, conservators and contemporary practitioners.

Lecture bookings: Sue Shaughnessy - general enquiries to publicity, ticket enquiries to lectures or telephone 0790 907 0739 

ADMISSION BY TICKET ONLY

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2017 Lectures


SUMMER LECTURE

Friday 23 June 6.15 pm for 6.45 pm start

Venue: The Art Workers Guild, 6 Queen Square, London WC1N 3AT

Ardyn Halter ‘Painting and stained glass in the work of Ardyn Halter’

Ardyn Halter was born in London in 1956. He is known as a painter, print maker and designer and maker of stained glass. He has worked on large-scale projects in England, Israel and Rwanda.

Are painting and stained glass, for him, necessarily separate aesthetic activities? Do the different techniques involve mind-sets? What is the correlation between them? How do the different disciplines interrelate and nourish each other? And how has his stained-glass work influenced his painting and printmaking? Does one see and relate to translucent colour differently to the way one views and uses colour on paper or on canvas?

His principle stained-glass windows have been commissioned works.

To what extent has the very fact of their being commissioned affected their design?  Are there constraints in his stained glass work that do not apply in his painting or printmaking?

The lecture will track his work and reflect on the above questions. A sort-of chronology is promised. The artist promises personal insights but not definitive answers.

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AUTUMN LECTURE

Friday 6 October 6.15 pm for 6.45 pm start

Venue: The Art Workers Guild, 6 Queen Square, London WC1N 3AT

Diana Coulter IHBC ‘Zen and the stained glass art of Keith New’

25 years ago Keith New lectured in the Art Workers' Guild on ‘A view from the tightrope’. Diana Coulter's talk for the Society, of which New was a well-respected Fellow for over 50 years, is an opportunity to consider how he dealt with the tightrope of post-war stained glass design. Undoubtedly he had a well-developed sense of colour, as can be seen in the 28 surviving commissions, for the most part in England as well as further afield in Glasgow and Calgary. New was also an important innovator working with glass in revolutionary as well as more affordable ways, and sadly the losses from his modest oeuvre are the very windows one would most liked to have seen. This lecture will therefore concentrate on representative examples of his work - traditional painted and leaded glass, coloured leaded glass and appliqué work.

Why is his output so modest? Leaving aside student work, his career in stained glass spanned a mere 20 years from 1954-1974 with only three late appliqué pieces executed in the 1980s and all to be seen in Isleworth. For New each commission was invested with a passionate intensity

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