Limoges, capital of the fire arts (ceramic arts and glassmaking) in France, was awarded the title Creative Cities by UNESCO. In addition to porcelain makers, the city is home to many artisans, including master glassmakers. People are increasingly discovering this art in the capital of Limousin, where special training programs have been created.
The ArtisLux Workshop
Jean-François Guinot—Master Glassmaker—and Corinne Barataud and Cécile Gonzales met three years ago, at the first glassmaking training class in Limoges, launched by the GRETA (Groups of French Educational Institutions). Jean-François Guinot is a teacher and supported his former students in creating their workshop, Artis Lux. He explained to us how stained glass is made.
Échantillons de verre d'Artis LuxFondation du patrimoine
Creation
It all starts with the meeting between the artisan and their client. Together, they decide on the most suitable patterns and colors for the designated space where the stained glass will be displayed.
The glassmaker has many glass plates in various different colors in their workshop.
Dessins de la maquette sur papier cartonnéFondation du patrimoine
Once the mockup has been designed, it is traced onto a piece of cardboard with all the precise dimensions, color indications and required patterns.
Réseau de plomb permettant le maintien du verreFondation du patrimoine
Cutting
The cardboard model will then be cut out to create templates for the glass pieces.
These pieces are then embedded in a lead rod to a depth less than an inch, roughly the thickness of a grain of rice (1.5 mm).
Ciseaux à 3 lames permettant de découper les calibresFondation du patrimoine
This depth, called the l'âme du plomb (lead core) in French, must therefore be taken into account when cutting the templates from the cardboard design.
This is done automatically with a 3-bladed chisel specifically designed for glassmakers!
Découpe du morceau de verreFondation du patrimoine
Once the templates have been cut to the correct dimensions, they are placed on a piece of glass in the selected color.
It is then used as a guide to cut the piece of glass with a wheel or a diamond, so that it can be placed into the stained glass window.
Découpe des baguettes de plombFondation du patrimoine
In turn, the lead cames are cut and curved by hand to give them the shape that will surround the piece of glass.
Calage du verre dans la baguette de plombFondation du patrimoine
Assembly
Finally, the glass plates are mounted in their lead frames.
Soudure des baguettes de plombFondation du patrimoine
Soldering
The edges of the lead cames are flattened with a scraper to support the glass plates, then soldered.
Restauration de vitrauxFondation du patrimoine
Restoration
The traditional techniques to restore stained glass windows are no different. The complexity arises from the difficulty in finding the precise shade of glass pieces to be put back in place. Comparative tests are performed on a light panel.
Reproduction de décors pour vitraux à restaurerFondation du patrimoine
Painted decorations
Whether creating or restoring, the decorations that grace stained glass windows are made of metal oxides mixed with water, gasoline or gum arabic.
Once the pattern has been applied to the glass, it is fired at 1,148 to 1,202°F.
The painter's work is divided into two stages. First, they work on the lines, outlining all the areas; then they work on the patterns and shading.
The paintbrushes used differ depending on the technique. They can use a rigger, fan or mop!
Création contemporaine de verre teinté et thermoforméFondation du patrimoine
Creating objets d'art
These techniques can also be applied to creating objets d'art.
That is the case here, in this work which combines stained glass techniques and creating thermoformed glass.
Rencontre avec Jean-François Guinot Corinne Barataud et Cécile Gonzales - L'art du vitrail à LimogesFondation du patrimoine
Video interview with Jean-François Guinot—master glassmaker—who talks about his career, and with Corinne Barataud and Cécile Gonzales from the Artis Lux workshop, who demonstrate their expertise.
Excellent training
The training, implemented by the GRETA system with the Fondation du Patrimoine's (French Heritage Foundation) support, enables students to become glass restorers and artisans in two years. There are only two centers offering this type of training in France.
Vitrail de Chagall dans la chapelle du Saillant by Marc ChagallFondation du patrimoine
The students and teachers involved in the training work particularly on restoring stained glass created by Marc Chagall for the chapel in the Château du Saillant at Voutezac, in Corrèze.
This restoration is supported by the Fondation du patrimoine. It will return the color, among other things, to this oculus depicting the sunrise.
La Cène de Chigot dans l'église du Sacré-Cœur de Limoges (1954) by Francis ChigotFondation du patrimoine
The fact that this training was established in Limoges was no coincidence. The city is considered the capital of the Fire Arts (ceramic arts and glassmaking): enamel and porcelain have been mastered here for centuries.
It was also the birthplace of one of the greatest master glassmakers of the 20th century: Francis Chigot, who created this depiction of the Last Supper at the church of Sacré-Cœur in Limoges.
Les vitraux Chagall du Saillant, thèmes et techniqueFondation du patrimoine
See the wonderful stained glass windows created by Marc Chagall for the Château du Saillant's chapel in this video.
Our thanks to Alexie Martin-Ramos from Haute-Vienne Tourism for her help, and to Jean-François Guinot, Corinne Barataud and Cécile Gonzales for their hospitality.
To support the restoration of Chagall's stained glass windows along with Fondation du Patrimoine, click this link: https://www.fondation-patrimoine.org/les-projets/vitraux-chagall-de-la-chapelle-du-saillant-voutezac
