Woman in tree stained glass design
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Redmond created stained glass for churches, public buildings and residences primarily in and around Boston, but her work can be found from New Jersey to Maine.
WOMAN IN TREE STAINED GLASS DESIGN WINDOWS
The church also had windows by Louis Tiffany and John La Farge. Paul's Episcopal Church in Englewood, New Jersey.
WOMAN IN TREE STAINED GLASS DESIGN SERIES
One of Redmond's first stained glass commissions was a series of six windows of individual saints for St. With the goal of providing more opportunities for women in stained glass, she trained women as apprentices and assistants in all phases of stained glass work. Throughout her career, Redmond would find doors closed to her professionally because of her gender. Redmond would spend summers at her house in New Hampshire, often teaching summer art classes as well as working on commissions. At that time, she changed the description in the Boston city directory from "artist" to "stained glass". With her companion, miniature painter Annie Jordan, she moved to 45 Newbury Street, Boston in 1925, where she kept a studio.
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Redmond selected English glass for all her work, mostly antique and slab glass. The two methods, which had been described and debated in the art press for many years, were still defined as 'English' and 'American', and Redmond, unlike Whitman, stood staunchly with the English".
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"Redmond painted and fired her glass in a traditional manner, piecing together bright mosaics of glass and lead and eschewing the opalescent plated glass favored by artistans such as La Farge and Whitman. She added, whether accurately, or not, that in Redmond's view, Cram "would not use her work because she was a woman and he did not believe in encouraging any woman in anything except housework." Indeed, "one mention of Cram's name would set Miss Redmond sputtering," later recalled one of her friends. Cram's world was a masculine one, and Redmond never worked on window designs for his numerous architectural projects. Redmond's style was characteristic of the modern medievalism employed by Ralph Adams Cram, but she did not enter his neo-Gothic brotherhood. Redmond later joined Connick's studio, working on her own stained glass commissions from 1917 to 1920. She created her first window, a glass medallion, under Connick's guidance. Under Connick's supervision, Redmond acquired the skills of stained glass design and glazing. When Redmond returned to Boston, she worked with Charles Connick, the leader in American stained glass.
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In Paris, Redmond took art classes with Lucien Simon and Ernest Millard at the Académie Colarossi. The vibrant colored medieval glass, in both England and France, would be an inspiration for her later work in stained glass. Pierre's Church of Chartres, Troyes Cathedral and Auxerre Cathedral. In England, she viewed outstanding thirteenth and fourteenth century glass, including the cathedral windows at York, Gloucester, Oxford, Cambridge, and Canterbury. Īfter 1908, Redmond traveled in England and France for two years, studying medieval stained glass in cathedrals, parish churches and museums. She developed an interest in the revival of medieval glass, a movement being led by artist, Christopher Whall in England. Inspired by the stained glass work of John La Farge in Boston, Redmond made the decision to become a stained glass artist and craftsman. She studied with influential art scholar, Denman Ross, who was also an early associate of artist Sarah W. Redmond later moved to Boston in 1906 into the newly opened Fenway Studio Building. She bought a farm and old house in Nelson, New Hampshire in 1904, which she used as a summer home and art studio. Redmond lived at 10 South 18th Street in Philadelphia, where she also painted, working primarily in watercolors.