artist's calling is glass painting - colored glass film
By VALERIE J. MERCERDEC.
1989 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
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LEAP says he still gets goose bumps when he recalls seeing something dirty for the first time
Glass windows of the French Cathedral.
Although he studied the details of the cathedral at the newly graduated Rhode Island School of Design, he said he was shocked by what he saw.
"There is this beautiful haze in the building, a little purple --
"The Color of lavender, it's just pulsating," he said . ".
The blue and red on the window, the Sun flowing through the window, will be absorbed by the marble floor, and then some lighter colors will float in the small pool above the floor.
This is a very emotional experience.
"Three years later, he still pointed out that the experience had a significant impact on him and inspired his career as a color glass painter.
When he traveled to Europe, he was very familiar with the art of colored glass and was very knowledgeable about the technical skills of its creators.
At Rhode Island School of Design, he was trained in medieval craftsmanship after moving from the illustration department to the Glass project.
When he was a student, he taught himself the art of painting on stained glass by studying Albinas elski's book "art of painting on glass (
Graffiti guy in New York1960)
He called it "the Bible on the subject ".
Leaps says his fascination with art forms began when he was a child.
He attended a Gothic-style Anglican church and said
The glass windows of the decorative structure are "very special ".
His mother added that as he grew up, he was surrounded by stained glass because of stains in the House of the family
She collected a lot of glass herself.
At the age of 14, the advertisement for his parents' wedding anniversary.
Leap commission insert
Glass panels near the front door of their home.
The panel is made up of red and yellow glass, decorated with the drawing symbol of the German Eagle he found in the coat of arms book.
This is a coat of arms that matches the family name very well, he said. Today, the 25-year-
The old artist has his own studio, which he opened in 1987 and named the painting window.
Just a few feet away from his parents' home, it comes with an electric kiln, a glass easel, brushes, paints, books and glass of different types and colors.
Basically, glass painting can be defined as a method of painting on the surface of the glass with the aim of decorating it with drawings or patterns, as well as varying degrees of translucency of filtering light through the glass.
This technology requires artists to draw lead by hand.
Base the pigments on clear or colored glass and then permanently melt them by firing the glass in the kiln.
Consistent with the traditional method of glass painting, he prefers bright colors
Leap says he prefers to use his mouth.
Blown "acid-resistant" glass imported from France and Germany, not machines-
Glass, because of its gorgeous colors and imperfections.
He is one of the few outstanding American artists working as a glass painter. Leap relishes.
"A lot of the glass paintings that are happening now are done in large studios that are mainly engaged in large churches, and have been done for a long time," he said . ".
"But in a large studio, different people do different things;
It's like one person designed a window, the other person made the painting, and the others lit the panel.
I can't understand how this system works.
"All I did was the whole thing.
I designed it and drew it.
When people hire me, they get all my education and all I know about the glass and hope they believe that. ''Mr.
Leap sees renewed interest in glass painting but says it is limited to what people see in old windows because there are not good enough examples of modern art forms in the United States.
"There are a lot of artists doing copies of Tiffany's lights and double lights.
Glass Victorian panels, he said.
"If a client comes to me and asks for it, I will convince them not to do so.
"Advertising because he wants to be called a spokesman for the" lost art "of glass painting, he gives a formal lecture on the history of glass painting whenever invited.
While he likes to take the time to help others understand the technique, he says the lack of awareness of its potential to enhance contemporary architecture "is sad for the whole culture, because if people know more about glass painting, there are so many wonderful things that can
"Themes and styles VaryHis works are characterized by a variety of themes and styles, from natural scenes and fantasy stories presented in representative styles to abstract designs based on geometry and organic forms.
He said everything he saw helped his play.
He read art history books and magazines carefully and studied reproductions of paintings, sculptures, prints and stained glass.
Artists who are important to his work include Georgia okiev, Gustav Klimt, John Lafayette and Frank Lloyd Wright.
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One aspect of entrustment work
Leap said his education did not give him any advice to deal with because of his limited client budget and his creativity was limited.
"I got in training at school and did the most beautiful thing for the space, and he said," just like these are your gifts, you have to come up with the answer, the answer must be the best. ". Mr.
Leap's attitude towards his work is guided by this principle, but experience makes him more pragmatic.
"What I want to do now," he said, "go in and say, 'This is the scope: it can be $2,000 or $6,000.
Then I showed them my work and let them know what I was talking about.
"Although he has completed several projects for the customer, he believes that a set of dyed
He made glass panels for Madeline Sheppard Moyer and her husband Steve's home front door, the most challenging and successful commission he has ever had.
The Moyes family are renovating their ranch house in Burlington and a friend introduced them to Mr Burlington. Leap.
She thinks a bold design of color
The glass panel at the front door will be an eye-catching statement.
After visiting Mr.
Leap's studio, seeing his work, hired him. Mr. Leap and Ms.
Moyer decided that the group should paint a theme that reflects her interest, including horses and water.
For weeks, she and Sir.
Leap often gets together to exchange ideas about the topic, do research and talk about the art, music, books and movies they like.
The advertisement is fast, sir.
Leap found an Irish legend about a mysterious city that was completely submerged under the lake.
It was fascinated by the curse of a fairy king, and he deceived a young prince with the gift of a special horse.
According to this story, sir.
Only good people can hear the church bells ringing underwater, Leap said.
This is perfect for artists and clients.
Sir, instead of depicting the legend in order
The Leap decided to superimpose these events.
For the main image, he chose the Prince to be abandoned by his own horse and leave it to the moment when the fairy king has Mercy.
In the upper left panel, he shows the city on the night of the flood, in the lower right panel, the next day is the city under water.
After five months of work, the panels were installed on the door of Moyer home on May 1988.
Each panel is 27 inch wide and 68 inch long.
They consist of about 400 pieces of glass assembled with lead.
The main shades are purple and gray, matching the blue of the House
The interior is gray and the exterior is gray. Mr.
Leap is the recipient of 1988
Art Research Fund from the State Council.
His work was recently exhibited at the Noys Museum in osenville, an art group performance produced by researchers last year. Now until December.
31, his wall panels are known as the "Dance of the fire lizard" and can be seen on the "New Jersey Art Annual Meeting: clay and glass" at the Newark Museum.
A new folding screen of his "unspeakable Land" was selected for display at the Philadelphia Museum of Art.
The show will open on April 1990.
He is currently working on a committee of a church at the Haneman Hospital in Philadelphia.
He also taught glass.
Take a painting class at Markeim arts center in harden field and Pilchuck Glass School in Washington state.
Between the two, one day he thought about his ideal mission, that is, "a very large architectural work that controls the light of the entire space, in which, you can see how natural light from glass affects the environment.
"As I saw it in Chartres," he said.
A version of the article appears on page NJ12 of the national edition of December 3, 1989, titled: The artist's call is glass painting.