Stanišić - architectural art glass

Brenda Belfield is an abstract painter and designer of architectural stained glass whose major commissions include 60 windows for the National Cathedral in Washington D.C. Her walls of glass are seen across the U.S. and in places as varied as the American Embassy in Saudi Arabia and the NATO base in Sicily, Italy. Belfield's paintings have been exhibited in New York City, Los Angeles, and the Washington DC area. With paint or with glass, Belfield's artworks evoke the illusion of light in a structure that explores order and spontaneity.

EDUCATION:

1960: B.A. Arts Education, The George Washington University with undergraduate and graduate study at the Corcoran School of Art, Washington, D.C.

1970: Independent study in Europe and the U.S. in stained glass design

1985-89: Printmaking, Northern Virginia Community College

1990-95: Painting workshop in Southern France, contemporary sculpture at Santa Fe Art Institute

1996: Corcoran School of Art, Abstract Painting

2003: Meltdown School, Washington DC, fused and cast glass

PROFESSIONAL ARTIST:

1960- present: Abstract Painter, 11 one person shows and numerous group exhibits in the Washington area, New York, and Los Angeles.

1970-present: Designer, architectural and liturgical stained glass specializing in master planning for projects in the U.S. and abroad

STAINED GLASS DESIGN COMMISSIONS (complete list available by here):

Six national awards for stained glass design from Modern Liturgy and IFRAA

Sixty windows at the Washington National Cathedral; panel at the American Embassy in Saudi Arabia, wall of glass and marble at NATO base in Sicily, Italy; University of Richmond, VA, chapel, All Saints Chapel at the University of the South, TN, 20'x35'window Marin HS, Kentfield, CA, and many churches throughout the US;

SPECIAL EXPERIENCE

1973: Founder and first Executive Director, Greater Reston Arts Center (GRACE)

1983 to 1996: Director , representing artists, National Board of the Interfaith Forum on Religion, Art, and Architecture, a professional interest association of the American Institute of Architects

TEACHING:

1960-61, 1980-81: Art teacher, Fairfax County Public Schools, VA

1996-present: Intuitive Abstract Painting, Art League School, VA

2004-present: "Painting Out of Your Mind" Artworks Studio, VA; Television Producer, show about artists called Just Looking (Fairfax County)

PUBLICATIONS

Architectural Digest (March 83)

Southern Living (89)

North Carolina House and Gardens (September 90)

For Thy Great Glory, Inform (91)

Faith and Form (92)

Jewels of light 2004 new edition

review: Washington Post Art Review(Dec. 94)

Saint Mary Hospital - Grand Junction, CO(65m2) 
Prucellville Baptist Church - Prucellville, VA (25m2)
University of the South - Sewanee, TN (180m2)
Carnegie Mellon University - Pittsbourgh, PA (10m2)
Immacullate Heart of Mary - Gr. Junction, CO (140m2)
Good Shepherd Church - Alexandria, VA (120m2)
Most Blessed Sacrament - Washington, DC (10m2)
Saint John Vianney - Prince Frederick, MD (130m2)
Saint Paul Church - Damascus, MD (15m2)
Saint Joseph Catholic Church - Huntington, WV (15m2)
Grace Catholic Church - Ponca City, OK (50m2)
Saint Frances School - San Francisco, CA(90m2)
Saint Gregory the Great - Buffalo, NY (130m2)
Saint Joseph Church - Sharon, PA (25m2)
Aldersgate United Methodist - Sissonville, WV (60m2)
O'Dell Funeral Home - Alamogordo, NM (25m2)
Maryetta Baptist Church - Logan, WV (35m2)
Saint Andrew Presbyterian Church - Pinch, WV (30m2)
Gauley Bridge Baptist - Gauley Bridge, WV (10m2)
Bulleville Christian Church - Bulleville, OH (20m2)
Saint David Episcopal Church - Washington DC (5m2)
First Lutheran Church - Charleston, WV (10m2)
First United Methodist Church - Brighton, MI (20m2)
Church of Brethern - Harrisonbourg, VA (60m2)
Church of Risen Christ - Denver, CO (20m2)
Emmanuel Lutheran Church - Vienna, VA (35m2)
Saint Paul Episcopal Church - Greenville, NC (35m2)
First Lutheran Church - Ellicot City, MD (75m2)
Saint Mark Episcopal Church - Washington DC (4m2)
Westminster Presbyterian - Wilmington, DL (55m2)
Trinity Lutheran Church - Bethesda, MD (12m2)
Our Lady of Perpetual Help - Ellicot City, MD (5m2)
Our Lady Lourdes - Alexandria, VA (6m2)
Holy Comforter Church - Vienna, VA (20m2)
Church of Epiphany - Herndon, VA (10m2)
Calvary Lutheran Church - Silver Spring, MD (10m2)
Bridgeport Hospital - Yale University - CN (15m2)
First Baptist Church - Springfield, MD (10m2)
Archbishop Carroll School - Washington, DC (10m2)
Congregation Sherah Israel - Macon, GA (30m2)
Turkish Embassy - Washington, DC (20m2)
Charles E. Smith Jewish School - Rockville, MD (8m2)
Blenko residence - Boynton Beach, FL (5m2)
Presbyterian Church - Forsyth, GA (15m2)

Stained Glass Association of America (SGAA)

The Stained Glass Association of America, which was founded in 1903, maintains within its membership the highest possible standards for excellence in craftsmanship, integrity, and business practices. Mr. Stanisic, the voting member of Studio Stanisic, was admitted to the SGAA as a professional member in 1990 and is in good standing. This is the highest form of membership a studio may hold. In 1991, Mr. Stanisic was presented a formal paper at the Association’s annual conference in Chicago, Illinois. He was also an active participant in artistic and technical discussions.

He continued his artistic displays at the industry’s international trade show and conference in St. Louis, Missouri in July, 1994. While Mr. Stanisic continues to stand out as exceptional in his chosen arts field, one of only a handful of nationally acclaimed and recognized designers and artists, his relatively young age precludes a large volume of work. In an arts industry as small but far-reaching as stained glass and the liturgical arts, Stevan Stanisic has certainly made his mark early and powerfully. In a matter of four years he has achieved national recognition and awards that elude some stained glass artist for a lifetime.

Kathy Murdock - Stained glass Association of America

 
Carnegie Mellon University - Pittsburgh, Pennsylvania 

Dear Stevan,
As you know, our University has officially opened its doors to the campus community. It is a joy to see so many students, alumni and friends already using the building and enjoying all of its special features.
The chapel is particularly appreciated since our campus has not had one in the past. And I must especially thank you for creating the stunning stained glass window housed in the chapel. It is truly the most special finishing touch to that area.

Warm regards,
Carolyn A. Carter - Associate Vice President for Development

The price of stained glass is usually determined by it's surface area (m2 or sqft). Given that each stained glass window is unique the price is established for each window individually, depending on the design, materials (types of glass) that will be used for its fabrication, number of painted glass pieces (example: face, hands , drapes) and the cost of transport and assembly.

Price is available on request by using our CONTACT page. Please fill out the forms and write down a short description of your project.

Stained Glass Studio Stanisic to the best of it's ability, guarantee highest quality of the workmanship against defects in structural design and in materials for a period of ten years from the installation date. If defects are discovered during warrantee period, Studio Stanisic shall effect repairs to the defective portion at no cost to the Investor.

As a material stained glass is glass that has been coloured by adding metallic salts during its manufacture. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in which the colours have been painted onto the glass and then fused to the glass in a kiln.  

Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight. Many large windows have withstood the test of time and remained substantially intact since the late Middle Ages. In Western Europe they constitute the major form of pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as 'illuminated wall decorations'.

The design of a window may be non-figurative or figurative; may incorporate narratives drawn from the Bible, history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church - episodes from the life of Christ; within a parliament building - shields of the constituencies; within a college hall - figures representing the arts and sciences; or within a home - flora, fauna, or landscape.

Source: Wikipedia - Stained Glass 

Architectural glass can enrich the character of any building.  Its translucent and transparent qualities make it a useful and elegant element for dividing space in offices, conference rooms, etc. as well as for windows.  

Stained glass can be made in a wide variety of colors and textures, it can fit into nearly any installation and any location. Traditional, religious-inspired scenes fit perfectly in churches and temples, while geometric patterns complement both modern and classic design.

Contemporary church window may in some ways be closer to those of the early Gothic period. Not easy to identify scenes, they again create a pure atmosphere of light and color, inspiring a contemplative attitude through the transformation of the ordinary into the mystical.

Stained glass, or more appropriate art glass, is all around us today. An explosion of interest in the last 30 years has give rise to many new and imaginative forms of this art. The rise of the individual artist and new technologies have all lead to what is being called A a new golden age in glass. New artists are combining, creating and developing unique new forms and styles every day.

The design process begins with a presentation of Artists work to the client and/or architect. From this meeting a proposal is written which outlines the scope of work. Designer and the Investor will determine the artistic expression and begin a careful study of all the elements, which will affect the design solution. Preliminary designs shall be made for Investor consideration. In collaborative effort, decisions are made regarding:  

Lighting - The effect of the quality of light on the spirit of the space, the control and interaction of exterior and interior light, the effects of seasonal changes.

Architecture – Relationship of the design to style, scale, etc.

Themes – The choice between representational, symbolic, or abstract content.  

Glass Alternatives – The choice of leaded or facetted glass, protective coverings.