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Art Horizons. M. A. Carretero.

27 and November 28 will

be held in Auditorium 200

of the National Museum

Reina Sofia Art Center

Symposium will feature

the participation of diffe-

rent actors in the con-

temporary art scene to-

day , and aims to make

visible to the public on

the state of issues worked

by the observatory

groups as well as the

conclusions and propo-

sals for action that could

be carried out to impro-

ve the projection of Spa-

nish contemporary art in-

ternationally.

Needless to say, the art

glass has no special signi-

ficance in the subjects

relating to art as a whole.

Therefore, we have ap-

plied for registration at

the Symposium of two

components of the Bo-

ard of our Association

and we will go with the

idea of trying to make

this meeting attendees

know and become awa-

re that there is a kind of

art that is done with

glass, and we have a

sneaking suspicion that

the Spanish art world does

not grow with the con-

cept that you can do art

glass.

This view is declare with

great sadness , after wat-

ching our northern neigh-

bor host of various biennial

whose common denomi-

nator is the glass.

In our recent visit to the

Biennale in Strasbourg we

have witnessed a large

number of art galleries in

the city have offered their

different exhibition spaces

for artists who express their

feelings through the glass

to showcase their works to

the public.

As most of the galleries

opened their exhibition on

the same day , we witnes-

sed the movement of

people from one gallery

to another to see the ma-

ny exhibits.

It is true that some of the

galleries made available

to the organization of the

Biennale we attracted

much attention since they

were located on floors of

houses or in some neigh-

boring yard , and perhaps

because of our lack of ex-

perience in the domain of

the existing spaces for the

dissemination of contem-

porary art shock us all that

is not an exhibition space

at street level.

But for us , the important

thing is that glass artists

have been able to count

spaces in Strasbourg to

present their works and

the public to appreciate

the development of his

art.

And in most cases, the

work will be exposed to

late November.

A few days earlier took

place in the French town

of Carmaux another bien-

nial exhibitions and live

demonstrations of several

glass artists , biennial

which , given the proximity

in time to Strasbourg , we

could not go as he would

have been our desire.

In the world of art to other

neighboring countries

glass art is a strange alien

world that arises not know

how and with the danger

of breakage.

In our experience of live

demonstrations , we pro-

ved that an artist who

paints a picture , an artist

who sculpts in wood, an

artist who made a piece

of pottery , to give some

examples , the audience

goes , look for a moment

and moves on. But with a

live demonstration of a

glass artist doing a piece

with a torch , or by blo-

wing through a reed, or by

thermoforming, attends

public " open-mouthed "

at the spectacle offered.

Why not take this advan-

tage and fill the spaces

we offer live demonstra-

tions on how to perform

the works of art in glass ?

Nuestra sede:Nuestra sede:

Castillo Grande deCastillo Grande de

S.J. de ValderasS.J. de Valderas

Avda. Los Castillos, s/nAvda. Los Castillos, s/n

28925 ALCORCÓN.28925 ALCORCÓN.

(MADRID)(MADRID)

info@amigosmava.orginfo@amigosmava.org

Monthly Newsletter

Newsletters

Egidio Costantini

Página 2

Intellectual Proper-

ty Law

BOOK II. TITLE VI

PROTECTION OF CER-

TAIN EDITORIAL PRO-

DUCTIONS

Article 129 unpublis-

hed public domain

works and works not

protected.

1. Any person who

lawfully discloses an

unpublished work

that is in the public

domain will have on

it the same rights of

exploitation that had

accrued to the aut-

hor.

2. Similarly, the edi-

tors of works not pro-

tected by the provi-

sions of Book I of this

Act , shall have the

exclusive right to aut-

horize the reproduc-

tion, distribution and

public communica-

tion of these issues if

they can be distin-

guished by their type-

setting , layout and

other editorial featu-

res.

Article 130 Duration

of rights

1. The rights recogni-

zed in paragraph 1 of

the preceding article

last twenty five years,

counted from Janua-

ry 1 of the year follo-

wing the lawful dis-

closure of the work.

2. The rights recogni-

zed in paragraph 2 of

the preceding article

last twenty five years,

counted from Janua-

ry 1 of the year follo-

wing the publication.

TITLE VIII

RIGHT ' SUI GENERIS '

DATABASES ON

Article 133 Object of

protection.

1. The right " sui gene-

ris " on a database

protects the substantial

investment , evaluated

qualitatively or quanti-

tatively , that makes its

manufacturer either

financial, employment

of time, effort , energy

or other similar bodies

for the obtaining, verifi-

cation or presentation

of the content.

By law referred to in

the preceding para-

graph , the maker of a

database can prevent

extraction and / or re-

utilization of all or a

substantial part there-

of , evaluated qualita-

tively or quantitatively ,

provided that the ob-

taining, verification or

presentation of the

contents represent a

substantial investment

in quantitative or quali-

tative . This right may

be transferred , assig-

ned or granted under

contractual license.

Exposition in Guadalajara.

www.amigosmava.org

The next day, November 6 ex-

hibition opens in Guadalajara

School of Art with works by the

brothers Martin Rojas, Azuque-

ca de Henares, members of

our Association, and Beatrice

Peral.

The exhibition will be open un-

til November 27.

She has been called

"Expeditions Factory geome-

tric light" and the School is lo-

cated in the Plaza Ceuta and

Melilla, No. 6 and 7 of Guada-

lajara.

The inauguration will take pla-

ce at 17 h. the next day 6.

SPECIAL INTEREST:

Part of the month

Biennal of Strasburg

Plan for FCNV

Project for CNV

Activities on the MAVA

News

Our activities

Glass recycling

How does

C O N T E N T S :

Part of the month 3

Established artists 4

Young artists 4

Biennal of Strasburg 5

Plan for FCNV 6

Research line 7

Activities in Museums 8

Activities in the MAVA 11

Dialogues with ..... 12

Project for CNV 13

FARCAMA 2013 14

Bellotti in La Granja 15

Nativity in MNAD 16

Factory New Baztan 17

News 18

Culture 2013 18

Concert at the MAVA 19

Reciclamadrid 2013 19

The glass museum 20

Olafur Eliasson 21

Stained glass in Miraflores 22

Glass recicled 23

Glasses hispanic-roman 24

Cultural tours 25

Culture 2013 Programme 25

Bloggers in La Granja 26

Lycurgus cup 27

Other trends 28

The Czech glass industry 29

Episcopal Palace 30

Takahiro Kondo 31

"Sound of Fire" 32

Tutankamon in N York 33

How does 34

Glass in Ecuador 35

Verallia invests in Burgos 36

Guardian in Bilbao 37

Expressing a medical 38

Smart glass in Israel 39

Lucie Koldová 40

Directorate 41

Important issue: the Intellectual Property Law (XXXI) M.A.C.(XXXI) M.A.C.(XXXI) M.A.C.

U R G E N T N E W SU R G E N T N E W SU R G E N T N E W S

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Página 3

Student first Zelezny High

School ' Brod, made after stu-

dies at the Academy of Ap-

plied Arts in Prague under Pro-

fessor Joseph Kaplicky who

instructed him in Monumental

Painting and Glass.

This duality between painting

and glass will be maintained

throughout his career.

Start working as an indepen-

dent artist in the '60s , beco-

ming known to their sources of

glass, set in the famous and

powerful Czech pavilion at Ex-

po 67 Montreal.

Distinguishes his work from the

rest of the Czech production 's

use of color and the play of

light , features closer to those

of a painter to a glass artist.

Use the sheet glass , painting

the surface of these and then

joining them to create his fa-

mous series of cubes , where

the geometric and abstract

designs are suspended inside

the cubic form with full effect

of beauty and mystery.

He worked on numerous com-

missions architectural win-

dows and enclosures.

From the 90s his inclination to-

wards painting becomes

greater , using the glass plate

holder just as his paintings to

applying other surface treat-

ments.

In any case , most of your

work then you will have only

two dimensions.

His work was admired throug-

hout the world but in no

elsewhere as in Japan, where

its valuation as an artist was

huge.

He produced numerous ex-

hibitions since the early 80 par-

ticipating in virtually all editions

of Glass Now.

One of his last speeches was

the "Garden of Fantasy and

Music " that made for the oc-

casion Czech pavilion at Expo

2005 in Aichi.

Based on the idea Motor Expo

on " The Art of Life" , the pro-

ject developed was based on

the interaction between light ,

water and music.

In Japan had good friends,

Kyohei Fujita died also among

them.

www.amigosmava.org

Part of de month. Bohumil Eliáš.

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Página 4

a receptionist at the Banca Com-

merciale and studied for a degree

in Botany at the University of Parma

in his spare time .

In 1945 he moved to Carnia and

began working with the surrounding

natural woods . It was here that the

artist first developed an interest in

working with glass .

Before embarking on his own care-

er glassmaking , Costantini began

as an agent for several glass facto-

ries of Murano in Venice , which

allowed him to work with teachers

glassblowers and learn the ins and

outs of the trade.

I wanted to raise the craft of glass

blowing at the same level as sculp-

ture or painting, so he started colla-

boration among glass blowers, ar-

tists , and himself to create glass

sculptures based on drawings by

contemporary artists.

Then she started working with a

group of Venetian artists and this

came the founding in 1950 of the

Centre Studio Pittori del Vetro di

Murano nell'arte .

Four years later he moved to Paris

to promote his project with the most

famous artists of the time, and this

led him to collaboration with

Alexander Calder , Gino Severini ,

Pablo Picasso , Jean Arp and Max

Ernst , among others.

Daireaux has developed over

more than twenty years of art

facilities that incorporate diffe-

rent media: sculpture, photo-

graphy , video, brought from his

many travels around the world .

Far from the exotic or anecdo-

tal, like clockwork meticulous,

focuses on the gestures, and ob-

jects over time .

It reveals unsuspected layers of

reality.

And many of the projects are in

the drawers of Daireaux .

Everything is potentially there in

germ and constantly updated

by new trips .

A few years ago that builds pac-

kages mysterious colored glass

bangles you see in the markets

during the numerous trips to In-

dia. He opened with them a

new drawer.

The artist landed in Firozabad , a

town north of India.

Local specialties , glass bangles

are the spearhead of activity in

the industry is almost entirely de-

voted firozabie for more than

600 years.

Beaten by the colors and forms

of these sculptures , François

Daireaux bring some in your lug-

gage and stores them in a cor-

ner of his study and in his head

for more than three years.

www.amigosmava.org

Egidio Costantini was born in Brindisi

on April 22, 1912 .

When his father died in 1918 , he

moved to Venice with his family

and studied at a technical college ,

where he earned radiotelegraph

operator 's license .

He initially worked at the Circolo

Motonautico of Venice, but at the

start of World War II found a job as

Established artists. Edigio Costantini.

Young artists. François Daireaux. Our web

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Página 5

www.amigosmava.org

Our trip to the Biennale in Strasbourg.

Like two years ago , we have

also been present at this ye-

ar's opening of the Biennale

internationale du verre 2013 in

Strasbourg organized by the

European Studio Glass Art As-

sociation ( ESGAA ).

In the setting of the Barrage

Vauban of this French city

Biennale was inaugurated last

October 18 and has had this

year with numerous exhibition

spaces , both in Strasbourg

and nearby locations. Among

them are the Lalique Museum

in Wingen -sur- Moder, or the

International Glass Art Mei-

senthal.

We arrived by air to the host

city of the European Parlia-

ment on the 17th and the next

day in the afternoon we at-

tended the inauguration ,

greeting and congratulating

ESGAA President , Mr.

Schmoll , for organizing this

event.

Mr. Schmoll recalled our visit in

the previous edition of the

Biennale and was glad to see

us again in this year.

Between 19 and 21 we visited

several art galleries that have

adhered to the Biennial , all in

Strasbourg, La Cour des Boec-

klin except that it is located in

the nearby town of Bischheim.

This year 's edition has been

quite different from the pre-

vious one, and that has had

numerous works of artists but

not the category of the pre-

vious edition, it is true that in

the former told the Wurth Mu-

seum collection that has

works of artists such Libensky ,

Littelton , Cigler , Joan Crous

or Leperlier , among others.

In one of the galleries had the

opportunity to meet and chat

with the artist of Colombian

origin , but settled in a village

near Strasbourg, William Ve-

lasquez.

William was formed for two

years at the School of Fine

Arts of the Colombian capital

and moved to Strasbourg to

pursue his studies for four ye-

ars at the School of Decorati-

ve Arts.

To our question of the reasons

for his move to France infor-

med us that, fundamentally ,

by the lack of artistic outlets in

your country of origin and resi-

dence of his elder brother in

France.

Have been so many photo-

graphic images we captured

of the thirteen exhibitions we

have attended we have to

edit a special issue of our

Newsletter that properly classi-

fied, we present them in an or-

derly fashion.

Our general impression is that

we have found a big differen-

ce in terms of the artistic quali-

ty of some works on the other .

It also has drawn attention to

some works of great artistic

quality were exposed to some

debatable prestige gallery ,

while other lower quality galle-

ries were located in much bet-

ter located.

On our Facebook page you

can see the pictures we have

taken of the works we've seen.

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The Board of Trustees National

Glass Centre ( FCNV ) has ap-

proved the feasibility plan pre-

sented by the School of Indus-

trial Organization ( EOI ) , a

state entity under the Ministry

of Industry, Energy and Tourism

in July 2013 assumed manage-

ment institution based in La

Granja ( Segovia ).

The viability plan includes re-

duced costs and increased re-

venue for the year 2014 with

the aim of achieving financial

balance in subsequent years .

EOI sources have told Europa

Press that thanks to him as well

as the efforts of employers ,

the FCNV will catch up

"immediately " with all outstan-

ding payment obligations ,

both employees and suppliers.

Once given the green light ,

the meeting focused on the

implementation and execu-

tion of the strategic plan.

The execution of works in the

building to ensure the conser-

vation and adaptation to the

regulations and to prepare it

to the needs of the new mu-

seum , are the most immedia-

te projects.

Página 6

Feasibility Plan for FCNV.

Tech Museum of Glass , craft

manufacturing , residence

and school.

The Board of Trustees is chai-

red by the president of the

council of Segovia , Francisco

Vazquez , and counts among

its patrons with five representa-

tives of the Government of

Spain , five representatives of

the Junta de Castilla y León ,

as well as the Mayor of the Ci-

ty of Royal Site of San Ildefon-

so.

EOI Foundation took in July

FCNV management in order

to substantiate its viability and

ensure the promotion , deve-

lopment, education , research

and dissemination of crafts-

manship and history of glass

manufacturing and other artis-

tic and cultural activities rela-

ted scientific technique and

art glass.

This task of management is

part of the Commission for the

Reform of Public Administra-

tion of the Government of

Spain and intends to relaunch

the FCNV to repositioning its

products nationally and inter-

nationally.

It has also established a priori-

ty to work in R + D + i and

FCNV promoting tourism at

national and international le-

vels through various agree-

ments and conventions.

The Strategic Plan , approved

by the Board on October 15

and presented by the CEO of

EOI , Fernando Bayon, vision is

the creation of a socio-

economically valuable space

around the glass , supported

by the " sustained and secular

experience," replace the Ro-

yal Glass Factory of La Granja

as a national and internatio-

nal industry.

The same sources have stres-

sed that the hallmarks of this

Foundation are innovation ,

training and technological

development , collaboration

and interaction with all actors

in the glass sector , the pro-

motion of the heritage of Cas-

tilla y León, the efficient appli-

cation of resources and align-

ment with international trends.

The strategic objectives are

aligned presented around

four units that reinforce each

other and seek to create sy-

nergies development : the

www.amigosmava.org

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Página 7

Estefanía Sanz Lobo.

In Fig. 1 fragment of a work

which has been used with

mixed green mica blue ena-

mel ( in the deepest layer ,

with the texture of a net ) and

silver mica powder mixed with

transparent glass in the outer

layer.

PUMICE POWDER

Powdered pumice or pumici-

ta is a silica compound trioxi-

de and aluminum trioxide ,

among other components :

71 % SiO2, 12.8 % Al2O3 , 1.75

% Fe2O3, 1.36 % CaO , 3.23 %

Na2O , K2 3.83 % , 3.88 % H2O.

Its softening point around 900

° C , so it can be considered a

refractory material.

The temperature used to melt

glass (less than 900 ° C ) fails

to melt.

This material as interesting as

separator and to make molds

is unattractive as an inclusion .

Between two glasses always

has a dry earthy and plastic

effect , especially when

brought in a large amount , if

put in the glass surface , it is

rough, matte opacificada.

However, a void volume can

be achieved inside the glass,

a pseudo - long air bubble we

envision an area where the

dust can be removed once

cooked pumice work.

The opposite occurs when

used as a component separa-

tor or mold : one of the mate-

rials ensures that the glass has

a contact surface with the

base brighter and smooth.

In Fig. 2 , there has been an

inclusion of ground pumice

between two glasses.

The dust is inside, has an opa-

que and dense.

In Fig. 3 , the dust is removed

through a slit to which shaped

the pumice put between the

two panes.

The result is an air bubble ,

whose edges are still some

traces of dust.

Fiberglass

Lines and frames can be

achieved inside the glass

using this material.

For use in small proportions

because they can create

stress areas to defer expan-

sion coefficient with float glass

and other special types of

glass melting.

The fiber used in the tests lis-

ted below has produced ten-

sions.

Is a short glass fiber (about 10

cm in length and 7 to 15 mi-

crons in diameter ) for use in

isolation , in the form of blan-

ket , which has been frayed

disunited into fibers.

Can be used alone, in which

case leaves a visible whitish or

color impregnated.

A very subtle effect is achie-

ved by introducing the fiber in

colored ceramic glaze , pow-

der dry.

You can also get yourself a

stronger effect : you just have

to dilute ceramic glaze soak in

water and fiber in the mixture.

The drawback , however , is

that it increases the thickness

of the fiberglass, and it is more

frequent to small air bubbles

formed , therefore , must take

this possibility into account in

designing the work to incorpo-

rate these air forms the final re-

sult.

Yet it is important to let the

enamel which gives color to

the fiber to dry thoroughly be-

fore insertion between two

glasses , to prevent water from

causing the formation of bub-

bles or white areas after coo-

king.

www.amigosmava.org

Line of research: Inclusions (XIX).

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Página 8

www.amigosmava.org

Activities in Museums I.

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Página 9

www.amigosmava.org

Activities in Museums II.

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Página 10

www.amigosmava.org

Activities in Museums III.

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Página 11

www.amigosmava.org

Activities on the MAVA. XIII Semana de la Ciencia.

From 12 to November 16, 2013

The Science Week XIII of the

Community of Madrid, will be

the 10th year in which we par-

ticipate.

The theme of this edition is "

Research , participation, pro-

gress."

A classic activities and guided

tours, workshops for students

and families , this year as new,

will have a Technical Scientific

Glass Blowing, Faculty of Che-

mistry, Complutense University

of Madrid.

Moreover, it has built a " Glass

Maze ", a treasure hunt where

the students will have to disco-

ver materials chemistry glass.

From the Museum have sche-

duled a large number and va-

riety of activities for all ages

and types of audiences: scho-

ols, families, adults in a group,

etc.

Schools : 12, 13 , 14 and No-

vember 15, 10 to 14.

Engraving on glass, visit the

museum and the Glass Maze,

scientific glass blowing exhibi-

tion.

Bookings on 911 127 632.

General Public: 13, 14 , 15 and

November 16.

The scientific glassblowing , by

Emilio Elvira blower technician.

Wednesday 13 , Thursday 14

and Friday 15 hours 10-14 and

17-20.

On Saturday the 16th from

10:30 to 14:30 h .

To see the blower is not neces-

sary to book in advance.

Workshops for families will be

on Thursday 14 ( magic bot-

tles ) and Friday 15 ( engraving

on glass), in two shifts : from 17

-18 h and 18-19 h .

Reservations are required by

calling 91 112 76 30 .

The museum tour will be on

Wednesday 13 , Thursday 14

and Friday 15 to 19h. Saturday

16 at 12pm.

Reservations on 91 112 76 30.

In addition, the Castillo Cultu-

ral Center Small (behind the

MAVA) joins the celebration of

the International Year of the

Sphere Cooperation UN Wa-

ter, scheduling an activity with

experiments, models and de-

monstrations on water be-

havior, qualities, functions and

overall water cycle in the na-

ture.

With the collaboration of Co-

llective Vitrium, Alart Associa-

tion and the Faculty of Che-

mistry, Complutense University

of Madrid.

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Página 12

www.amigosmava.org

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Dialogues Exhibition: Painting and photography.

After the first exhibition of "Dialogues" in which the sculpture with other types of materials re-

presented the view that some artists had parts MAVA collection, the Museum presents a se-

cond relationship works through painting and photography . Other Images

Other Images

Página 13

www.amigosmava.org

Projects for the National Glass Centre.

grated project that has exci-

ted the entire group . "

One of the first projects to be

undertaken by the new ma-

nagement of CNV Foundation

is the incorporation of the Ro-

yal Glass Factory of the Spa-

nish Network of Tourism Indus-

try ( RETI ) .

In a few days , according to

the head of the CNV , the

project started officially, with

the CNV as a member.

" This is another tourism boost .

We have an industry to be

seasonally adjusted , and en-

hance domestic tourism , not

only in summer and sun in that

aspect, the Royal Glass Facto-

ry has a lot to say. Spaces like

this can create a lot of inter-

est, both for visitors and for our

country from abroad", he

said.

Emilio Cabanes had an im-

pact on the opening of the

CNV " we are very interested

because it is an ideal platform

for us, a magnificent showca-

se . We want the Royal Glass

Factory again be known , and

is accessed within all cultural

and tourist itineraries".

The director insists that the

school is open , " and this year

more than ever , with the par-

ticipation of the multinational

SGD among its faculty."

" And within the calling to

open the school activity ,

what has been done is to add

entities and institutions that

we have much to say in the

world of glass education ," he

says.

This opening also passes

through collaboration with

companies and training with

practical commitments . " We

want to become a national

and international , and all tho-

se people who are trained in

this sector have their basis in

the CNV formation ."

In terms of production , the

objective is to value the tradi-

tional manufacturing eighte-

enth century style blown glass.

Emilio Cabanes stresses that

workers Glass Factory " are an

example of professionalism

and commitment , like all insti-

tutions , the City Council of

the Royal Place , the council,

and the rest , we have taken

with open arms . The project is

understood to be his, an inte-

An open, transparent and mo-

dern. This is the challenge that

has been labeled the new di-

rection of the National Glass

Centre Foundation ( CNV ) for

the Royal Glass Factory of La

Granja.

Since last summer, the Escuela

de Organización Industrial

(EOI ) took over management

of the Foundation, its new di-

rector, Emilio Cabanes , has

started working to make this

museum space , training and

production , in a national and

international glass sector.

"We have a very powerful mu-

seum , which currently recei-

ves about 40,000 visitors a ye-

ar , and thought it may be le-

verage for other activities. It is

open as a museum , more ex-

periential , more modern , and

for that we have the support

of the Ministry of Culture, to re-

work the museum and mu-

seum discourse that makes it

possible that reality , "says Emi-

lio Cabanes.

In his opinion, this vocation of

openness is also applicable to

other working areas of the Ro-

yal Glass Factory , the Glass

School and artisanal produc-

tion.

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Página 14

FARCAMA 2013.

As in previous years , the first

weekend in October opened

FARCAMA the XXXIII edition of

the Craft Fair of Castilla La

Mancha in Toledo.

This year , due to the ongoing

crisis affecting both public en-

tities as the guild of crafts-

men , the number of partici-

pants has continued to decli-

ne compared to previous ye-

ars.

Of a total of about 160 arti-

sans that we saw last year has

been about 80 this year.

The glass sector has been no

exception. In about six partici-

pants in last year's edition has

gone to four in this year.

Also in this edition have mo-

ved the booths of artisans of

the Fair to the outdoor terrace

of the Army Museum , reser-

ving the central courtyard of

the Museum for institutional

stands.

We followed noting absences,

among others, Montse Foglia-

ti , Antonio de la Torre , Mark

Arcos , Ana Ubeda , Natalia

Benchoam , Vitrale , etc.

We were able to greet Isaac

Perez -of deCristalia- Juan

Moreno - for Moreno Grisailles-

to Laly and Emilio.

They told us the difficulties they

are going through to get ahe-

ad in the midst of the econo-

mic crisis so extensive in time

we suffer , and have been ex-

pectantly at the result that co-

me in the transfer of the fair

from the fairgrounds to the

Museum Army.

It's still a shame that this impor-

tant craft fair is so drastically

reducing the number of its ex-

hibitors , since the quality of

our craftsmen is extraordinary

and it is necessary that the pu-

blic can enjoy their work

through the products displa-

ying.

www.amigosmava.org

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Página 15

www.amigosmava.org

The Royal Glass Factory at La

Granja ( Segovia ) opened

last October, the exhibition '

fractions ' of the sculptor ,

painter , draftsman and writer

Evaristo Bellotti, which pre-

sents objects of different ma-

terials at different times : Who-

le , broken or even reduced

to a pile of dust.

The show, which can be seen

in the Halls of Lights Glass

Technological Museum until

December 15 , aims to bring

the viewer a direct experien-

ce of the shape of objects ,

not only glass but also of pa-

per, plastic , shells egg , eart-

henware or cardboard.

A glass bottle found on the

beach serves paradigmatic

object of this experience.

The object, says the artist , ap-

pears with a clear and distinct

when it preserves its integrity.

When it breaks, its original

form survives in the broken

parts or disappears complete-

ly , depending on the degree

of disintegration of the frag-

ments.

The glass bottle itself , whole ,

in pieces or reduced to pow-

der , expresses three moments

of his identity.

But there is a fourth possibility ,

which is the ' Fractional ' try to

experience Bellotti.

" When the restorer recons-

tructs the broken glass bottle

and repositions each part in

place, looking back to its ori-

ginal shape . If successful, it

may be said that with the res-

toration has recovered the

bottle largely , if not entirely ,

its true form . not so in Frac-

tions " , sources from the Royal

Factory.

Thus, influence in the ' Frac-

tions ' Andalusian sculptor pro-

ceeds in an alternative way ,

reclassifying first and then ma-

nipulating the pieces of glass

bottle with other criteria.

Thus, when the artist proceeds

to reconstruct something else

with the remaining parts of

the original bottle , the shape

that emerges is not duplica-

ted in the same way , but the

report.

This unprecedented form

new, is one of many possible ,

radically different from the ori-

ginal and of itself.

The materials used in the ' frac-

tions ' are treated as if they

partake of the properties of

hardness and brittleness of

glass , which explains their ex-

posure in the windows of the

room lights Tech Museum of

Glass.

The exhibition will be from

Tuesday to Friday , Sunday

and holidays from 10.00 to

15.00 and Saturday from 10.00

to 18.00.

The artist

Born in Algeciras in 1955 , Be-

llotti moved to Madrid to com-

plete his training.

From the 80 , emerged among

the most outstanding sculptors

of the time.

His work from classical antiqui-

ty through the use of fragment

and motifs inspired by myt-

hology and Mediterranean es-

sence.

Enrolled in Post- Modernity, has

endeavored to renew the lan-

guages of sculpture.

His work has toured many ci-

ties in Spain , Europe and

North America .

Bellotti in La Granja.

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Página 16

Nativity, of Archímedes Seguso (I).

www.amigosmava.org

Article by Maria Josefa Almagro. MNAD.

The National Museum of De-

corative Arts has a nice Birth

glassware made by the fa-

mous Archimedes Seguso ,

Murano 1950s was composed

of eight figures that belong to

one and the same set , plus

another eight representing

angels in different poses des-

cribed here also with the abo-

ve because of its subject, but

as we shall see are somewhat

different in color and style

and even may not be of the

same firm.

The eight figures were acqui-

red at birth Mrs . Trinidad Gar-

cia del Cid through the Minis-

try of Education and entered

the National Museum of De-

corative Arts in Madrid in 1955

by a Ministerial Order of

03/28/1955.

The figurines of angels do not

have the same source or ci-

ted in this OM.

The museum lacks accurate

data on admission to the insti-

tution, but even if belonging

to the same birth we do after

a detailed description of them

along with the others, but first

we want to give the reader

oblivious to these issues , some

data on the artist who crea-

ted the work.

Archimedes Seguso was born

in 1909 into a renowned fami-

ly of glassmakers of Murano.

In 1932 , from the famous Art

Glass Barovier , Barovier Na-

poleone , Antonio Seguso

with their children and L.

Olympius Ferro, founded the

Soffieria and vetreria Ferro Ba-

rovier - Seguso and for a time

was also a collaborator Alfre-

do Barbini fellow teacher and

Artistic Director of the famous

Vittorio Zecchin.

In 1934 Flavio Poli replace Ze-

chin in office.

When in 1934 Barovier Ferro

and leave the firm , it beco-

mes the property of the Segu-

so family and renamed Art

Glass Seguso.

Archimedes , born as within

this family of glassmakers as-

sets , learned his trade in the

furnace of his father and from

his childhood , barely 11 ye-

ars , enthusiastically devoted

his life and his future creativity

to this art, becoming the 17

years in one of the younger

glassmakers of Murano in the

factory of his father.

There he worked on as a blo-

wer , part designer , sculptor

and researcher of glass, crea-

ting his own techniques and

always trying to improve the

product and the artistic quality

of the glasses.

One of his specialties was the

creation of many different ani-

mal figurines made of glass

called " massiccio " or solid ,

heavy glass very nonacentista

colors and style , which some-

times took dough in gold foil

powder , which gave the sa-

me qualities and particular as-

pect.

These figures designed , blown

and shaped by hand by the

artist, were very popular

among the public and someti-

mes imitated by other glass-

works on the island , so long

Archimedes received the title

of " master of animals " .

Maybe learn the technique of

self Barbini who in turn had

worked with Napoleone Marti-

nuzzi , which along with Ercole

Barovier were best known spe-

cialists in this type of esculturi-

llas .

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Página 17

www.amigosmava.org

Factory New Baztan (III).

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Página 18

N E W S (I).

Culture 2013.

Congratulations, Maria Eugenia!.

www.amigosmava.org

ze , for its part, the evolution of

painting during the nineteenth cen-

tury.

In 1801 , at the initiative of Napole-

on Bonaparte , created the Mu-

seum of Fine Arts with the order to

receive shipments of the State.

From 1890 , Wilhelm von Bode , Di-

rector of the Museums of Berlin , re-

casts the collection, which had be-

en completely destroyed during

the siege of Strasbourg , 1870.

This past October, and leveraging

our visit to the Biennale of Glass in

Strasbourg, visited the Museum of

Fine Arts.

Located on the first floor of the Pa-

lais Rohan , the Museum of Fine

Arts in Strasbourg displays a fasci-

nating overview of the history of

painting in Europe , from its begin-

nings to the 1870s , through a multi-

tude of canvases Italian, French ,

Spanish , Flemish and Dutch .

The early Italian and Flemish are

here represented by Giotto, Mem-

ling.

The Renaissance and Mannerism

are reflected in the works of Botti-

celli , Raphael, Veronese , Lucas of

Leyden and The Greco.Barroco ,

Naturalism , Classicism and the XVII

and XVIII are manifested through

paintings by Rubens , Vouet , Zur-

barán , " La Belle Strasbourgeoise "

of Largillière , Canaletto , Tiepolo

and Goya.Las Delacroix , Chassé-

riau , Corot and Courbet , will reali-

that contribute to the glass

sector growth.

This video was shown at the

VII Jornades of Glass of Ando-

rra on 6 October last, where

she was invited to participate

to discuss the blog: "Objects

with Glass, the first blog in

Contemporary Glass spea-

king".

On 7 page turned six.

On October 7, 2007 Maria Euge-

nia Diaz de Vivar created with

Glass Objects blog in order to

gather and have a clear and or-

derly all the information found on

the Internet and that had fasci-

nated.

The space grew and she with

him.

It generated a very wide network

of contacts that benefited all.

It is a space that gives visibility

and disseminates art glass curren-

tly in an active, not only virtual,

but with more than 40 events or-

ganized during the first six years.

Maria Eugenia thanks everyone

for escort and hopes to continue

to grow and create more events

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Página 19

N E W S (II).

Concerts in the MAVA.

www.amigosmava.org

Reciclamadrid 2013.

ded in concert last October.

As in most of our program-

ming, the collaboration of the

Fundación Miguel Angel Col-

menero is essential to develop

the concerts, and they know

and lend their support to nu-

merous groups of performers.

See you on the 15th.

ding suffered by the Conser-

vatory "Teresa Berganza" of

Madrid which informed the

soprano Marta del Barrio that

the concert had suspended.

The next day, November 15

we will have a new concert in

the Auditorium of the Museum

where we expect the same

soprano participating suspen-

With the concert held on Sep-

tember 20th will begin ente-

ring the last quarter of this year

of our activity "Concerts in the

MAVA".

The concert we had planned

last October 25 had to discon-

tinue with the public and in

the room for a misunderstan-

ven a new step, participating

in events and activities in

Spain and in other European

capitals throughout the year.

To celebrate its fifth anniversa-

ry edition Reciclamadrid the V

moves to Madrid Centre and

will be held in Atocha Neomu-

dejar, Vanguard Arts Center in

partnership with ADIF.

They will have as guest with

Italy through two associations,

and Remmade Riscarti.

The event will open on No-

vember 4 and will be open

until the 17th.

On Saturday, the 9th, the eve-

ning glass artists intervene Nu-

topia group.

Reciclamadrid in 2013 cele-

brates its fifth anniversary un-

der the motto "Art breaks

down barriers" and are ready

to make this a year when gi-

After the success in 2012, with

over 17,300 visitors and 2,476

participants in the Eco-

workshops, performances, ins-

tallations, films and seminars,

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Página 20

The glass in Museums: Meisenthal.

After the extinction of Soucht

glass factory in 1700 , a group

of glassmakers in 1702 obtai-

ned the approval of Duke

Leopold I of Lorraine to settle

in Meisenthal .

Meisenthal is a French com-

mune in the region of Lorrai-

ne, Moselle department in the

district of Sarreguemines and

Bitche Canton .

The first glass of the new fac-

tory are the brothers Jean

Martin , Jean Nicolas and

Stephen Walter , Martin and

Sébastien Stenger Burgun ,

come factory five Soucht .

Rebuilt every building in the

glass factory during the nine-

teenth and twentieth centu-

ries , occupy the heart of the

village .

Behind the homes, the old ad-

ministration building with its ro-

of fairing , is occupied by the

glass museum since 1979.

The building was built in 1813

address ( the date indicated

on the pass door ) .

In the background, the great

hall, built in 1920 and renova-

ted in 1965 , is the last stage of

the expansion of the plant be-

fore final stops in 1969.

The old workshop built in 1859

is a long building and perfora-

ted angle with fireplace , ar-

ched windows on two levels,

the characteristics of the nine-

teenth -century industrial ar-

chitecture .

The interior is divided into two

floors , and the floors are sup-

ported by iron columns .

The shafts and pulleys, wheels

that powered the workshop

are still preserved .

Inside the hall , several annea-

ling furnaces , unemployed

since 1969 remain in force.

One of them, built around

1960 , runs on gas . It has twel-

ve refractory clay pots in

which glassmakers took the

posts to make their pieces.

The house of the master glass-

maker Walter Martin , built in

1803 and located at the en-

trance of glassmaking , is pro-

tected as a historical monu-

ment since 1996 . It is closed

to the public.

Located in one of the buil-

dings of the old glass factory

since 1981 , the House of glass

and glass covers the various

stages of the manufacture of

glass .

Glass reflects the ancient tra-

dition of the Bitche region ,

while the training school gla-

ziers, created on the initiative

of the Regional Park of the

Northern Vosges , allows the

art glass to find success in their

work.

Present achievements and

prestige projects signed by St.

Louis , René Lalique, Burgun -

Schwerer , Émile Gallé and ac-

quisitions in the Art Nouveau

style , as well as two beautiful

bowls made for the wedding

of plant manager Meisenthal

by Désiré Christian .

These cups have been recen-

tly acquired by the museum at

an auction in New York.

Located near the house of

crystal and glass , the Centre

International d' Art Verrier is a

unique production , display ,

transmission of knowledge,

creation and discovery .

It works for the preservation of

the traditional skills of glassma-

king and glass room , real in-

dustrial cathedral , exposed

each year various contempo-

rary artworks .

You can watch the glassblo-

wers at their activity, especia-

lly during the holiday season,

in which visitors are thousands

of Christmas balls made with

traditional craft form .

www.amigosmava.org

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Our web

Página 21

Olafur Eliasson. A view becomes a window.

www.amigosmava.org

Berlin, Germany , 2013 .

Editing only nine books and

two artist's proofs.

Height: 75 cm

Width: 58 cm

Depth: 17 cm ( closed book )

Height: 135 cm

Width: 60 cm

Depth: 100 cm ( stand )

A wiew Becomes a window ,

Olafur Eliasson , created to

Ivorypress , is a unique edition

of nine books .

Instead of pages , books,

bound in leather , containing

a variety of sheets of glass of

different colors , qualities and

degrees of opacity .

The pages are made of hand

blown glass in the center of

Waldsassen Glashütte Lam-

berts (Germany ) , one of the

few glass factories capable of

producing high-quality sheets

of this material.

Because they are handma-

de , the edges of the leaves

are irregular and each copy

has the imperfections of their

output.

The volumes , landscape for-

mat , are read with comfort

when resting on a lectern .

The book, whose size is remi-

niscent of an atlas , is full of

illuminations : the light is re-

flected , refracted and con-

ducted by glass pages .

When turning pages , layers of

colored glass create a multi-

tude of reflections , so that

the viewer becomes the pro-

tagonist of the narrative fun to

speculate .

Dichroic glass , used in the first

and last page , it creates a

shimmering effect that intensi-

fies the experience of the ob-

server .

Viewed against the opaque

background of the book, the

pages act as mirrors , but

however, when the light shines

through them , the effect

created is dichromatic translu-

cency , which reflects light

with a color that complements

that of the glass.

Ellipses and circles , straight

cut in some of the glass she-

ets , face frame while reader

turns the pages .

In the multiple reflections of

the book, look at how your

own image slides and fades

between pages and how it

grows out of them with crystal

clarity .

' A view Becomes a window ' ,

was exposed in Ivorypress ,

Madrid, from 19/09/2013 to

28/09/2013 .

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Página 22

The stained glass of the Cartuja de Miraflores (Burgos) (IV).

Del Boletín de la SECV.

3 . RESULTS AND DISCUSSION

3.1 Morphological Analysis

All samples showed signs of a

deep surface change .

In general, the outer faces of

the glass fragments ( outside

the building oriented ) condi-

tion showed much poorer

than the corresponding inter-

nal faces ( oriented inside the

building) .

The surface morphology of

the glass , which in normal sto-

rage conditions should appe-

ar almost smooth , made

numerous changes as strongly

adherent crusts , whose color

and length is variable depen-

ding on the sample .

On the outer faces of the

glass forming appreciated

crusts abundant dark brown

heterogeneous so intercon-

nected that virtually covering

the entire surface of the glass

(Fig. 1a, 1b) .

Also craters and pinholes we-

re observed (Fig. 1a , upper ) ,

also often interconnected

tanks filled crusts like appea-

rance .

In some samples , as in the

case of colorless glass M- 5,

the crusts had a whitish color

(Fig. 1c ) , while in others, as in

the case of colorless glass -

green M-7 (Fig. 1d ) , the

crusts were much darker and

compact .

The appearance of these

scabs indicates that may be

formed by an accumulation

of insoluble salts from the co-

rrosion products underlying

glass .

The inner sides of the glasses

had a better condition.

In many cases, only small pits

were observed and poor co-

rrosion deposits accumulation

(Fig. 2a , 2c) .

However, some samples sho-

wed signs of increased surface

change , in which we obser-

ved the appearance of irides-

cent thin layers (Fig. 2b ), so-

metimes covering almost the

entire surface (Fig. 2d ), which

can be attributed to the for-

mation layer of silica gel.

Said layers form after a pro-

cess of surface dealkalization

of the glasses when they are

subjected to a high percenta-

ge of relative humidity in sta-

tionary conditions , as it takes

place in the interior of buil-

dings when condensation of

water vapor are frequent and

prolonged.

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Página 23

Recycling. They screw Bottles.

We're going to Barcelona to

visit Tati Guimarães a Brazilian

designer that resides there

and whose striking coffee ta-

bles recycling have captured

our attention .

She has been awarded nu-

merous times for his interesting

projects that seek to generate

maximum sensory impact and

minimal environmental im-

pact.

Specialist in modern design ,

in 2012 took his collection Divi-

nus , consisting of an impressi-

ve array of tables made from

pine wood tables and certi-

fied reclaimed and reused

glass bottles .

As can be seen in the images,

Guimarães became glass

bottles on the legs of their ta-

bles.

" When I design beyond func-

tionality , beauty and sustai-

nability. Seeking versatile de-

sign objects that convey a

message , to interact with

people, excited and invite re-

flection , "explains the creator

Brazilian who heads the de-

sign studio Ciclus .

You can read more informa-

tion and pictures of his collec-

tion of elaborate tables using

glass bottles reused , in this link

as in this one.

We, of course, we rejoice and

make us think this kind of initia-

tives that will create useful and

eye-catching elements

through recycling and invite

all to seek your own ways to

give new life to our domestic

glass containers .

Also Green igloos on the stre-

ets are waiting for them to de-

posit bottles , glass jars and

bottles we want disposal and

recycling .

www.amigosmava.org

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Página 24

Glasses hispanic-roman.

In the stately mansions of Ro-

man villas tableware used a

refined character .

The glasses and silver foun-

tains reserved for special oc-

casions : receptions banquets

and Mr. gave his friends and

clients.

Every day , they used ceramic

and glass containers .

The latter, by its very fragile ,

often appear in the villages

reduced to tiny fragments .

However, the custom of de-

positing in the tombs oint-

ments and perfumes , as well

as meats and food for the

journey to the afterlife , has

allowed us as were the glass

vessels that the Romans used

to eat, drink and keep your

perfumes.

The organoleptic qualities of

glass allowed them to serve

and drink wine and not alter

the taste of it , and save wit-

hout these oily substances

evaporate or impregnate ,

which passed with ceramic

vessels .

At first , the glass was a luxury

product imported from the

East (Egypt , Syria and Palesti-

ne ) . But from the first century

BC , the diffusion of the blo-

wing technique allowed the

containers of this material

could make more easily , lo-

wering its cost , what made

them affordable to large sec-

tions of the Roman popula-

tion .

The glass workshops spread

throughout the provinces of

the Empire and the dishes of

this material became a com-

mon household product of

the Romans .

Bowls , cups and , to a lesser

extent , plates, went into pro-

duction with very simple tech-

niques in glass of mediocre

quality .

Despite this, not without de-

coration , consisting usually in

a few lines or frosted stripes .

Some vessels show a more

elaborate ornamentation ba-

sed depressions or with thre-

ads and applied glass cabo-

chons .

There were also containers

most sumptuous and expensi-

ve , with engraved decora-

tion , which were imported

from northern Gaul and the

Rhine area.

The vessels presented the Mu-

seum of Valladolid in the tem-

porary exhibition " Roman Vi-

llas of Valladolid" : jars with

handle or flared hemispherical

bowls , urns globular , phials

and ointment of narrow neck ,

goblets, " cruets " ... are made

of green glass yellowish .

Type containers are simple ,

because they come from rural

cemeteries in which were bu-

ried rustic villas workers valliso-

letanas the end of the Roman

period .

It is in times of so-called " Ne-

cropolis del Duero " ( although

today the better to speak of

cemeteries contain graves

with grave goods " type Si-

mancas -San Miguel del Arro-

yo " ), precisely because the

cemeteries located in these

populations vallisoletanas de-

posits were first this kind to be

investigated.

The temporary exhibition will

be open until the 9th of De-

cember this year .

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Página 25

ke visible to the public the

status of issues worked by

the Centre as well as groups

of the conclusions and pro-

posals for action that could

be carried out to improve

the projection of Spanish

contemporary art internatio-

nally.

It will be an open event to

be held at the National Mu-

seum Reina Sofia Art Center

and will be broadcast via

streaming on the Horizons

website.

the year of his second trip to

Rome, until his death.

From this period are some of

his most important paintings as

'Las Meninas'.

They are works in which is seen

as the Sevillian progressively

abandons the realistic line to

start his painting has been

painted with 'bold touches

that seem inconsistent from

nearby, but very fair and ac-

curate due to its distance', as

indicated from the gallery.

It is precisely this line so inno-

vative that many years after

decisively marked nineteenth

century painters like Édouard

Manet who studied his work

closely.

Besides the exhibition Veláz-

quez has other portraits that

were made in the Spanish

court at that time, and other

works of his disciples who con-

tinued their work after his de-

ath.

Artists like Deck or Carreño

who made their own contribu-

tions to the genre of portraitu-

re in their depictions of Mar-

garet of Austria Mariana of

Austria or Charles II.

In this november visit the ex-

hibition "Velázquez and the

family of Philip IV" at the Mu-

seo del Prado, Madrid.

The most important portraits

of Velázquez recent years in

addition to those made in his

environment and his disciples

to show the importance and

evolution of portraiture in the

Spanish court under the Sevi-

llian painter's artistic reign.

More than thirty works that

make up this exhibition is a

journey through the court por-

traits of Velázquez (Seville,

1599-Madrid, 1660) from 1648,

www.amigosmava.org

Horizons of Contemporary Art

in Spain, the Symposium with

the participation of different

actors in the contemporary art

scene today, and aims to ma-

Our activities.

In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2013.

Cultural Tours.

Culture 2013 Programme.

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On 27 and 28 November this

month participate in the Sym-

posium to be held at the Mu-

seo de Arte Reina Sofia.

A year after the first meeting of

Página 26

Bloggers in La Granja.

to cool to get the final pro-

duct .

They also had the luxury of

being themselves which wor-

ked glass, and each of them

could take home their own

piece made by their own

hands.

To finish a perfect way to visit ,

eat at the restaurant could Pa-

radores .

Fashion Beer , Alhambra

1925 , has launched a new

communication campaign

they called "Art to discover."

This campaign intended to ex-

pose artists and geniuses true

but not so popular disciplines

such as music or sports.

For the occasion, led a group

of bloggers to the Royal Glass

Factory of La Granja.

They were able to take a tour

of the Tech Museum of Glass ,

where they could learn the

history of how it works and get

this material in a very interes-

ting and amusing talk .

Later they could see first hand

how the glass works hand of a

true virtuoso and Diego Rodri-

guez, from catching a hot

mass of molten glass until you

blow into shape and allowed

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Página 27

The Lycurgus Cup.

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The Lycurgus cup , exhibited in

the British Museum , dating from

the fourth century after Christ .

His relief carving depicting the

mythological legend of King Ly-

curgus and the triumph of Diony-

sus on this .

But hidden inside more than le-

gends , secrets of what is consi-

dered the most technically sop-

histicated glass before the mo-

dern era .

Nanotechnology is probably

one of the biggest milestones of

the past decades.

The explosion of technology has

allowed modern man to work

with systems in a hundred and

one billion times smaller than a

meter , where materials come to

particular properties.

But the beginning of nanotech-

nology data, at least for 1700

years and Lycurgus Cup is the

proof.

The glass dichroic glass has pro-

perties ; reflects green light and

transmits red light (Fig. 1) . But

what is this?

Chemical analysis of the glass

provides the following composi-

tion :

soda-lime- silica (like most of the

glass from Roman to present

day ) , 0.5 % manganese, traces

of other elements such as anti-

mony, about 40 ppm gold and

300 ppm silver .

Transmission electron microsco-

py revealed the presence of na-

sample are key to the reduction

of gold and silver and , conse-

quently , the formation , morp-

hology and size of the resulting

nanoparticles .

The glass molding temperature

and reduce metals and the at-

mosphere is also presumed to

process keys.

Plasmon metallic nanoparticles

gives an extreme sensitivity to

the local environment , causing

changes in its refractive index

(RI) .

The application of such proper-

ty, which is nothing more than a

sophisticated evolution of the

Lycurgus cup , allows excellent

use as biosensors.

This property provides the possi-

bility of , for example, quantif-

ying the antigen-antibody bin-

ding and kinetics , measuring

the concentration of ligands or

determine the molecular weight

of the metabolite together.

Fig. 3 shows one of the possible

configurations of sensors based

on optical properties of the na-

noparticles of gold and silver .

The process is carried out by

passing a beam of laser light on

a prism on which is deposited

one gold nano-surface which

are anchored highly specific re-

cognition molecules (generally

antibodies).

Binding to a specific ligand

changes the angle of incidence

of the light beam refracted on

the detector.

noparticles of between 50 and

100 nm.

X -ray analysis determined the

composition of them , gold and

silver in proportion 7:3 .

These tiny particles are responsi-

ble for the optical properties of

glass.

When light falls on small metal

nanoparticles can excite the

electron cloud collectively , re-

sulting dipole oscillations that

decay on time scales of 10-100

femto - seconds (Fig. 2) .

This movement is called reso-

nance localized surface plas-

mon ( LSPR for its acronym in En-

glish) .

This interaction with light produ-

ces different colors depending

on the composition , shape and

size of the nanoparticles.

This explains the green of the

glass, because silver nanoparti-

cles and red to gold .

But the most amazing thing of

this glass is to observe the condi-

tions necessary for its produc-

tion : The color depends on the

precise concentration of nano-

particles , and in turn those of

the silver-gold ratio ( 7:3 ) .

Is thought to be antimony (using

at the time as bleach and opa-

cifying glass ) present in a pro-

portion of 0.3% , the reducing

agent necessary for the forma-

tion of nanoparticles .

The oxidation reduction poten-

tial of the different species in the

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Página 28

Other trends. Painting Prize.

In the Berlin Hamburger Bahn-

hof, coinciding with the week

in which art - fair takes place

abc , focusing on emerging

production , and in which ga-

lleries and museums inaugura-

ted - season , was released ,

with a significant deployment

of resources the winning na-

me Preis der Nationalgalerie

für Junge Kunst , an award

that seeks to spread the pro-

duction of artists under forty

years , of any nationality , who

reside and develop his work in

Germany .

The four nominees were the

Cypriot Haris Epaminonda ,

Germany's Kerstin Brätsch ,

New Zealander Simon Denny

and Mexican Deball Mariana

Castillo , whose works were

presented in an exhibition that

will run until January próxi-

mo12 in the HB .

The jury was composed ,

among others, experts like Ok-

wui Enwezor , Luis Pérez- Ora-

mas , Udo Kittelmann and Kit-

ty Scott .

The winner, Mariana Castillo

Devall , already has an impor-

tant trajectory since has parti-

cipated in the Venice Bienna-

le , Mercosur , Lyon and São

Paulo .

His work addresses issues rela-

ted to colonialism and inter-

sect it social, cultural and poli-

tical rights emanating rerea-

ding critical forms of history ,

served for the work now pre-

sented forms of domination

exerted on pre-Columbian

populations - in the recons-

truction of the first large-scale

map of the Aztec city of Te-

nochtitlan conducted by

Hernán Cortés in 1524 , later

printed in Nuremberg , as if it

were a huge carpet covering

the entire floor of the room ,

made of wood and evoking

the woodcut method used in

printing that map , Castle De-

ball uses that path to put in it

elements that play costumes

and costumes used in carni-

val parties still areas of Mexico

and Morelos , where traditions

merge Aztecs with the coloni-

zers , combining indigenous

identity symbols with the inva-

der.

Alongside the work of Castillo

Deball shown that of the other

three finalists , Kerstin Bratsch

used experimentally pictorial

medium and from a psycholo-

gical standpoint , using diffe-

rent media , such as paper ,

glass or transparencies , where

light becomes the determining

factor.

Alongside this work perceptual

order , Haris Epaminonda ex-

plores the moving image

through a fragmented langua-

ge , stories nonlinear integrate

their videos that talk about

cultural identity from a more

emotional than political.

Far from this language places

the work of the Zealander Si-

mon Denny , focusing on the

analysis of media and where

dissected the signs , slogans

and gestures present in the

speeches emanating from the

media.

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Página 29

www.amigosmava.org

The Czech glass industry.

The Czech glass industry recor-

ded a revival. Thanks to have

oriented towards a new range

and the use of new technolo-

gies, managed to recover

from the deep crisis that affec-

ted him for about four years

and its products are now ex-

ported to various parts of the

world.

About 4 or 5 years is provided

to the glass industry in the

Czech Republic .

The interest of customers for

glass products was declining

sector and several companies

had to close , and that the

market was flooded with che-

ap glass products from Asia.

However, the sector is not

completely gone , and thanks

to new ideas, excellent profes-

sionals and the long history of

the glass industry in the coun-

try, it soon recovered and be-

gan to flourish , says Vlastimil

hotar , Technical University of

Liberec , who recently presen-

ted a detailed sector study

confirming his words .

" The Czech glass industry is cu-

rrently well off unlike other Eu-

ropean countries where this

sector recorded a marked re-

duction in the profits and for-

ced to lay off many of the

workers. In the Czech Republic

the opposite occurs in the last

two years , increasing profits

and seek new professionals.

The crisis affected the glass

sector in a very strong, his fall

was sudden , so that the cu-

rrent boom is all the more ob-

vious. "

The measures applied in the

glass sector that led to its re-

covery lies in the radical chan-

ge in the supply of products

and the use of entirely new

technologies for manufactu-

ring, says Vlastimil hotar .

"The main change lies in what

is manufactured . In the early

nineties , typical supply glass

products including jewelery ,

decorative and industrial . In

2012 the production focused

on technical glass , ie , glass

fiber , flat glass and packa-

ging , and continue along that

path. Many people do not

even record that certain pro-

ducts are made of glass . "

The product offering is really

varied and includes screens

for phones and computers ,

mirrors , chandeliers , packa-

ging for yogurt and milk as well

as for example, elements of

luxury automotive glass and

glass jewelry.

Many of the products are for

export .

Several African countries de-

manded Czech glass beads

for making necklaces traditio-

nal African popular , these

being higher quality than tho-

se made in Asia.

In the Czech glass industry cu-

rrently employed some 17,500

people.

nalysts predict that the indus-

try will soon need more techni-

cians, workers and other highly

qualified personnel , which in

this country , with a long tradi-

tion window should not be a

problem.

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Página 30

www.amigosmava.org

The Bishop's Palace Museum

of Segovia has been opened

in a building historic late eigh-

teenth century , residence of

the bishops of the diocese un-

til 1969 , located in the Plaza

de San Esteban of the capital,

a few meters from the Plaza

Mayor , and remained closed

for nine years .

The museum occupies the first

floor of the building , the furni-

ture, together with its distribu-

tion and original function is

preserved .

The collection consists of three

sets, one of the Zuloaga cera-

mic , glass and other glass

from the Royal Factory of La

Granja and a third of religious

art of the Diocesan Museum of

Segovia.

The glass sample , which brings

together nearly 300 works, is a

tribute to the work of collec-

ting for years played the em-

ployer Segovia Eleuterio Lagu-

na .

The exhibition is organized

chronologically by periods or

styles .

Baroque Period (1727-1787)

Laguna- Lomillos The collec-

tion features important exam-

ples from this era , we high-

light several jars , glasses and

cups engraved and gold , a

briefcase with all necessary

glasses inside to make a " stop

along the way " , a major spi-

der lamp , and several cornu-

copias .

Classicist Period (1787-1810)

This exhibition brings together

a number of pieces ename-

led and gold of this era , some

of which exceptional quality

and gold glazes such as the

golden cup of the Infanta

Maria Amalia and several ga-

rrafillas and glazed vessels

with bucolic scenes and other

floral motifs.

We also emphasize its excep-

tional rarity garrafilla emerald

green glass and carved gol-

den .

Empire period (1815-1833)

Work of singular importance

disclosed in the sample is a

glass plate églomisé , engra-

ved on gold signed by Salva-

dor Duchen framing the bust

of Queen Mother Elizabeth

Frances Braganza , wife of Fer-

dinand VII . Also highlight seve-

ral lamp - spiders and other

cobalt blue glass pieces of

unique beauty.

Historicist Era ( 1833- late XIX

century )

The collection shows several

glasses and souvenir glasses

engraved and decorated with

motifs carved on their fore-

heads bearing commemorati-

ve motifs typical of the Palace

of La Granja.

Besides the famous opal ena-

melled with floral motifs that

might be fashionable at this

time .

The glass in the Episcopal Palace of Segovia.

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Página 31

Takahiro Kondo: Light and Water Sculptures.

Water is a recurring element in

representations of different ar-

tists .

The fluidity and transparency

of the liquid has tried to cap-

tured in more than one work ,

but never with as much fidelity

as Takahiro Kondo Sculptures .

Kondo is the fourth in a family

of potters recognized in Kyo-

to , Japan.

His work has been fascinated

by the realism with which

transforms ceramic with a

transparent element such as

water movement through the

use of solid materials .

To achieve this effect , applies

Kondo glass on porcelain figu-

res , to later use drops of silver,

gold and platinum on objects

of different shapes .

The result Reflections emerges

in series , which shows that se-

em sculptures formed by

drops in danger of altering

their shapes with light touch

of wind.

In 2011 the artist wanted to

pay tribute to victims of the

nuclear disaster in Fukushima.

Its first installation , Hotaru , Ja-

panese for firefly, reminded

over 20,000 earthquake vic-

tims who were nine degrees

on the northwest coast of Ja-

pan .

The purpose of this facility is to

make 20 000 figures represen-

ting each of the souls of the

victims .

Each glows in the dark and this

glow comes from uranium

glass placed in a square glass

vase , which represents water

contaminated with nuclear

material used for the produc-

tion of energy.

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Página 32

"Sounds of the fire".

The visual arts , painting ,

sculpture , volume , color ,

blended into an arpeggio of

colors to bring Santander

(Colombia) the exhibition "

Sounds of Fire " by sculptor

Daniel Castillo Santander .

With exquisite handling glass

fusing technique , Castillo was

in charge of an art exhibition

that was at the height of musi-

cal art XXX International Piano

Festival in Prada Rafael Ardila

room of the UIS.

Daniel Castillo Serrano is a

professional stained glass artist

and glassmaker born in Buca-

ramanga.

His first steps with stained glass

and gave in Venezuela and

then traveled to different

countries to improve their

technique .

For 8 years living and working

in their studies in Canada ,

where he has received seve-

ral Grants or cash provided by

the government to develop its

work on specific projects .

" The show that brought you

here is molten glass or fused

glass . A technique that hand-

les the glass at high tempera-

tures to transform depending

on what you want to achie-

ve . Depending on what you

are looking for, the tempera-

ture and baking time may va-

ry . "

For colors using enamel or

metal oxides , and other glass

and comes ready to melt , is

a processed glass in special

houses in the U.S. and Europe.

In his workshop has several

high-tech ovens where glas-

ses are carried at temperatu-

res ranging between 600 and

850 degrees Celsius.

" Actually, in Colombia is unk-

nown the use of glass and I

think in some ways cultural en-

tities have relegated it becau-

se I do not know . I think that 's

why , because in Europe and

the United States is part glass

art galleries accept them, any

gallery " .

The shapes and creativity

The artist says: " I love the geo-

metry. I have been studying

contemporary art through ki-

netic art , I delved into kinetic

art using glass, not any artist

does . "

Regarding Traditional Stained

Glass explains that " as an artist

simply cuts glass and unites it

with lead solder. This technique

is very flat because it allows vo-

lumetric work , which is the dif-

ference with glass fusing . But

also be achieved through flat

volumes , as some I did for Gar-

den Hill about 18 years ago . "

Through the glass normally ma-

de plates, trays , handicraft " us

and tell us glassmakers artisans

and craftsman I am , but we

are all artists and artisans who

want to say it's only artist, does

not know what the story.

When I returned to Canada I

decided to finish this piece.

Three planes are actually pia-

nos , since I think at the festival,

and she gave the name to the

exhibition : ' Sounds of fire ' . For

me it is one of the most beauti-

ful .

I not only proposed that piece

they chose as a symbol ; also

proposed three pieces , which

are pianos are piano scales .

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Página 33

Tutankhamun awakens in New York.

An exhibition of some of the

objects found in the tomb of

Tutankhamen expected rea-

waken interest in the young

Egyptian pharaoh in New

York , where a similar sample

passions unleashed three de-

cades ago.

Under the name " Tutankha-

mun and the Golden Age of

the Pharaohs " exhibition , pre-

sented by Exhibits at Discove-

ry Times Square in Manhat-

tan , New York gives the first

opportunity since 1979 to me-

et with Egyptian treasures de-

tail with which was buried the

legendary pharaoh.

A curious artifact in this exhibit

is a beetle amid one glass

pendants Tutankhamun .

It is a size that has interior ligh-

ting .

The only place of origin of

such glass can be found in

the Sahara desert.

Scientists believe it may have

originated from a meteorite

that fell to earth in ancient ti-

mes, but no crater to test this

theory . So the mystery re-

mains : where does this spe-

cial glass ?

A multidisciplinary team of

South African scientists finally

unraveled the secret of these

glasses and thus , the first test

was ever known of a comet

impact on Earth.

The results were published in

the journal Earth and Planeta-

ry Science Letters and presen-

ted at a conference at the

University of Witwatersrand

South African .

There are many known cases

of meteorite impacts on Earth.

On the contrary , never found

remains of comets , except

for some dust particles at high

altitudes in the atmosphere

and certain carbonaceous

residues in the ice of Antarcti-

ca .

"Comets always visit our skies ,

are these dirty snowballs , ice

mixed with dust. But never be-

fore in history has a comet

material found on Earth , "said

study co-author new David

Block of Witwatersrand.

The work of Kramers , Block

and colleagues is not limited

to explain the crystallization of

the sand , but it reveals an ex-

traordinary find, a comet frag-

ment that caused the pheno-

menon .

His work has focused on a

mysterious black pebble found

an Egyptian geologist for years

in a silica glass southwest of

Egypt.

At first thought it might be of

an unusual type of meteorite ,

but chemical analyzes perfor-

med on the stone discarded

one by one all assumptions .

It was not terrestrial carbon or

meteoritic rock , yet without

question certain isotopes poin-

ted to an extraterrestrial ori-

gin .

Was only one explanation at

hand the first macroscopic

specimen from the comet nu-

cleus .

Kramers excitedly recalls the

moment : " It's the typical

scientific euphoria , when you

remove all other options and

get convinced of what should

be."

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Página 34

How does.

This month we include some pictures of the technique practiced by François Daireaux.

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Página 35

The glass in Ecuador.

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The Iranian sculptor Tarasieh

Werle - Vahdat , presents his

works in glass in the exhibition

" A sea of light and mysteries."

The sample consists of 50 pie-

ces representing a variety of

issues ranging from human

rights to the rights of women

and their role in the promotion

of human creativity .

For the artist , the intention to

address these issues through

art is to make a warning

against the current situation in

the world " even countries

that claim to have human

rights not being applied , the-

re are countries where reli-

gious persecution very severe

as mine , "says Werle - Vahdat

and adds that while respec-

ting the rights not set " no pro-

gress in humanity " .

Part of the exhibition is the ex-

hibition entitled " Our forests " ,

which reflects the destruction

of forests by human greed .

Technique and creativity

The sculptures are mostly ma-

de of glass using techniques

such as blown glass, fused

glass , glass paste , among ot-

hers that the artist has combi-

ned with materials such as

marble , stone and wood,

which results in exquisite figu-

res that create optical illu-

sions, a mixture skill , dexterity

and creativity.

Some of his other sculptures

are abstract and figurative ,

but all touch enclose dreamli-

ke memory , personal history

and preserves the artist.

About the Artist

Werle - Vahdat Tarasieh born

in Azerbaijan , Iran .

His studies in arts were con-

ducted at the Central Universi-

ty of Ecuador and then in the

Glass Department of California

College of Arts and Crafts ,

Oakland and Pilchuk School of

Glass , Stanwood , Washin-

tongton .

He came to Ecuador for over

three decades.

The exhibition has been to Qui-

to and from 1 October in Loja ,

in the Museum of Archaeology

and Lojanidad of UTPL , where

he remained a month, then

expected visit other cities.

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Página 36

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Verallia invests in its plant in Burgos.

Verallia , a subsidiary of Saint -

Gobain group leader in the

production of glass containers

for food and beverages conti-

nues to invest in innovation

and sustainable development

through the modernization of

its factories.

So , has filed with its major cus-

tomers , suppliers and local

authorities the new furnace

and improvements at its plant

in Burgos.

D. Juan Vicente Herrera , pre-

sident of the Junta de Castilla

y Leon discovered the plaque

commemorating the event

with D. Emmanuel Auberger ,

CEO of Verallia Spain and Por-

tugal and D. Ricardo Ramon ,

General Delegate of Saint -

Gobain to Spain , Portugal ,

Morocco , Algeria and Tunisia.

D. Auberger Emmanuel said

that " Verallia sector invest-

ment leads with about 70 mi-

llion euros in the period 2012-

2014. Such investments are in-

tended to Verallia more com-

petitive and more flexible ,

continuing its commitment to

sustainable development. "

The company has invested

more than 6 million in Burgos

intended to increase safety,

quality and sustainability of

the factory.

His work consisted mainly in

the melting furnace repair

that feeds 4 of the 7 produc-

tion lines.

Additionally, we have imple-

mented a number of reforms

in the facilities that make up

the main areas of the process,

such as Raw Materials, Fusion,

Hot Glass (manufacturing)

and Cold Glass ( inspection

and palletizing ) .

The investment confirms our

commitment to sustainable

development Verallia , redu-

cing the consumption of virgin

raw materials to optimize the

ability to consume recycled

glass , reducing the consump-

tion of energy and fossil fuels

and therefore minimizing CO2

emissions to the atmosphere.

Moreover, these reforms en-

hance the ergonomics and

safety of Burgos Verallia facili-

ties and thus the working con-

ditions of its workers , provi-

ding greater flexibility and

agility in responding to their

customers.

During the opening ceremony

was attended by local and

regional authorities , as well as

a significant number of custo-

mers, especially in the wine

world , who supported an ini-

tiative that strengthens lea-

dership and ensures Verallia

industrial jobs and the presen-

ce of Castilla y León glass

company adapted to local

needs , a key element of its

industrial structure .

Burgos Verallia factory is spe-

cialized in the production of

wine and spirits bottles and

accompanies the wine sector

in their efforts to differentiate

themselves and gain market

share in international markets .

Verallia

World leader in the fields of

glass containers for wine, spirits

and food, occurs every year

more than 25,000 million glass

bottles and jars for its more

than 10,000 customers spread

over 46 countries around the

world .

It is the brand under which en-

compasses the activity of pac-

kaging the Saint- Gobain

Group worldwide.

In Spain , it is leader in its field

and has six factories in the Ibe-

rian Peninsula.

It also has a joint- venture fac-

tory in Telde, Gran Canaria , to

serve markets in the Canary

Islands.

Verallia Spain is also the first

consumer recycled glass Pe-

ninsula (known as cullet in this

sector) .

The high use of cullet a decisi-

ve contribution to improving

the environment , saving ener-

gy, raw materials and redu-

cing CO2 emissions to the at-

mosphere as well as waste

that goes to landfills.

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www.amigosmava.org

Llodio Guardian has manu-

factured the glass of the new

headquarters that will share

the Police and Fire Municipal

de Bilbao in Bilbao district Miri-

billa .

Once the work these days is

witnessing the end of the mo-

ve to the new building , a

complex operation that invol-

ves the relocation of nearly

800 municipal police , moving

your belongings and the trans-

fer of files and computers .

The new facility has two

blocks linked by a bridge

which occupy a total of

15,000 sqm plot in Miribilla .

Both have large windows with

glass built Sunguard SN 70/41 ,

manufactured by Guardian.

It is a type of glass art with a

neutral whose high-tech layer

ensures high light transmission,

excellent thermal insulation

and an effective sunscreen .

This glass represents a revolu-

tion for its effects enhanced

thermal insulation , a perfect

combination of low emissivity

and solar control to reduce

heating costs in winter and air

conditioning in summer , allo-

wing the passage of natural

light.

Guardian and his glasses are

synonymous with energy effi-

ciency for their contribution to

sustainability.

And all thanks to a last gene-

ration magnetron layer that

discriminates between diffe-

rent wavelengths of solar ra-

diation.

Most of the infrared radiation ,

which would increase the tem-

perature inside the building, is

reflected to the outside, wit-

hout restricting the passage of

light .

Guardian Glass , a subsidiary

of American Guardian Indus-

tries , is engaged in the manu-

facture and processing of

glass.

From its headquarters in Llodio

(Alava ) , managed the inte-

rests of the company in Spain ,

which are articulated into

three companies: Llodio Guar-

dian , Guardian and Guardian

Express Tudela .

Guardian in Bilbao.

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www.amigosmava.org

Expressing a medical (III).

friends . I lent the car when I

went to wash my clothes to

laundry and grocery shop-

ping . And the kinds of glass

were as expected , "he re-

calls .

Learned new techniques and

tools had a workshop and felt

that the roles were reversed :

now he sent to glass and glass

to him. And that was reflected

in his work.

Penland School of Crafts

In addition to Seattle , Dr. Sai-

tua enrolled in a course at the

prestigious Penland School of

Crafts in North Carolina .

Had Italian master classes with

Emilio Santini . There were fe-

llow artists hundred percent

dedicated to art.

Account that opened his mind

and the things he did " were

terrible next to the creativity of

my fellow artists ."

They helped him , drove him

and took seriously their interest

in learning . It was young peo-

ple who did not know he was

a noted surgeon in Chile.

" I was one over there. I had

this feeling that nobody cares

if you arrive or not , that nobo-

dy cares if you said you did

not say one thing or another .

There had to be worried about

the protocol. For me it was

fantastic. "

Those months are defined as "

the luxury of my life."

.. / ..

The change in routine

For Dr. Francisco Saitua have

a passion leads to develop ,

study and improve .

It means going where tea-

chers, allocate time, resources

and stop accumulating profits

to gain in other areas and

thus grow holistically.

" Finding yourself at that age,

at 48 years , two months alo-

ne with yourself , it is very rich.

It was a distinct super routine .

No cell . He had a small apart-

ment with living room, living

room, bathroom, kitchen and

bicycle. "

He says he understood some

things without that trip would

not have been possible.

Among them , how bad they

used the holiday , which

could not disconnect from

their work.

In Seattle internet forgot to

check the time and dropped

the phone.

Disconnection and break him

to a permanent state of men-

tal happiness .

"I was in another . With the

hostess became very good

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Smart glass in Israel.

Upon entering the elevator of

Aish HaTorah in the Old City of

Jerusalem , they never suspect

you are about to experience

the future of glass technology.

But as it rises from the first to

the fifth and last floor , the

walls are transformed gradua-

lly and what seemed at first to

be solid and opaque to com-

pletely transparent.

When the elevator finally co-

mes to a standstill on the roof

of the building, which is su-

rrounded by crystal clear and

breathtaking view of the Wes-

tern Wall .

The glass used in the transfor-

mation of Aish HaTorah lifts li-

quid crystal consists art deve-

loped by Diaphanous, an Is-

raeli company that is revolutio-

nizing the way glass can be

used in all types of construc-

tion projects ( from the win-

dows of the offices that can

be adjusted with the touch of

a button, to refrigerators that

go transparent green so you

can see what's inside without

opening the door waste ener-

gy ) .

Sheer seems to be right : The

company has just raised $ 4

million British company Sollan-

ge Investments .

Sheer plan to use that money

to open a factory in Israel for

the production of its special

liquid crystals and the first of

its kind in the Middle East . Al-

so plans to double its current

staff of ten to make way for

the new line .

Hotel rooms and cars

Diaphanous builds a speciali-

zed control system for genera-

ting an electromagnetic field

passing through the same ty-

pe of liquid crystals that make

up today's television sets and

computer screens . This chan-

ges the amount of light that

liquid crystals can not pass up.

The crystals were then placed

on a sheet and laminated bet-

ween two pieces of ordinary

glass , which can be cut up

and sold in the same way as

ordinary glass.

The opacity dialing can be

done through a device as sim-

ple as a damper mounted on

the wall or as a sophisticated

touch screen unit with advan-

ced synchronization options

and color .

The range of applications is

impressive.

You can imagine a hotel room

where the bathroom and be-

droom are separated by a

transparent glass wall control.

If you want privacy , it beco-

mes opaque , if you want a

feeling of spaciousness , more

transparent .

Or how about the back seat

of a car? The driver can provi-

de sun protection for children

sitting in the rear.

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www.amigosmava.org

Lucie Lucie Koldova created

products , design furniture ori-

ginating in the Czech Repu-

blic .

After graduating from the

Academy of Arts , Architectu-

re and Design in Prague in

2009 , he moved to Paris and

worked in the studio Arik Levy.

He worked as a furniture de-

signer and continued while

developing his own creations

for different companies .

Lucie established his own stu-

dio in Paris in 2012.

She appreciates the influen-

ce , inspiration and different

cultures merged is in Paris

where he worked for interna-

tional clients.

Lucie produces furniture ,

glass sculptures and eternal

lights .

Lucie uses technologies with a

primary focus on basic mate-

rials like wood and glass.

He enjoys working with unu-

sual proportions and contra-

sting colors .

In 2010 in France , began to

develop successful with glass

pieces Muffins and Ballons

calls for a traditional Czech

manufacturer : Brokis .

Since then continues to work

with glass and enjoy experi-

menting with different light

sources and materials , always

taking fascination with various

glass blowing techniques .

Lucie Koldova, passion for glass.

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Página 41

Castillo de San José de

Valderas.

Avda. Los Castillos, s/n

28925 ALCORCÓN

MADRID

Nuestro Boletín tiene su

redacción en:

Al vidrio por la cultura

The Association of Friends of

MAVA was incorporated on Ju-

ne 21, 2003 in accordance with

existing management.

The purpose of this Association is

to promote, encourage and

support many cultural activities

in the broadest terms, are rela-

ted to the mission and activities

of the Glass Art Museum of Al-

corcon.

Our goal is to develop and co-llaborate with other public or pri-vate entities to promote, protect and promote the art and culture.

www.amigosmava.org

Presidente honorario

Javier Gómez Gómez

Presidente

Miguel Angel Carretero Gómez

Vicepresidente

Pablo Bravo García

Secretaria

Teresa Fernández Romojaro

Tesorera

Mª Angeles Cañas Santos

Vocales

Rosa García Montemayor

Evangelina del Poyo

Diego Martín García

Francisco Martín García

José María Gallardo Breña

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Line of research. Images.

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Fig. 2

Fig. 3

Página 43

Stained glass in Miraflores. Images.

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Fig. 2

Página 44

Exposition. Images (I).

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Exposition. Images (II).

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Lycurgus cup. Images.

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Fig. 2

Fig. 3

Página 47

Dialogues. Images.

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