Number 1, 2019
In this essay for Glencairn Museum News, Dr. Jennifer Borland, Associate Professor in Art History at Oklahoma State University, describes the process of researching medievalism at Glencairn.
Read MoreA Nativity Maker's Workshop in Miniature
Number 12, 2018
This year’s World Nativities exhibition features Nativity Maker’s Workshop, an extremely detailed miniature diorama created by R. Michael Palan. In this issue of Glencairn Museum News, Michael talks to us about his work, and we interview both Michael and Karen on video in the living room of their home in Bridgewater, New Jersey.
Read MoreMeet the Artists: Tenth Anniversary of the "World Nativities" Exhibition
Number 11, 2018
This issue of Glencairn Museum News features five artists whose works are included in this year's World Nativities exhibition: Christina Orthwein (Bryn Athyn, Pennsylvania), Nancy Schnarr-Bruell (Bryn Athyn, Pennsylvania), Jeronimo Lozano (Peeru/Salt Lake City, Utah), Sabinita López Ortiz (Córdova, New Mexico), and Carmen Gutierrez Vazquez (San Miguel Aguasuelos, Veracruz-Mexico).
Read MoreThe Annunciation and Second Coming Frescoes in Glencairn’s Great Hall
Number 10, 2018
In this essay for Glencairn Museum News, Dr. Jonathan Kline, Assistant Professor of Art History at Bryn Athyn College, explores the original contexts, functions, and meanings of the late thirteenth-century Annunciation and Second Coming frescoes in Glencairn’s Great Hall.
Read MoreFuture-Proofing Kingship: Mesopotamian Foundation Deposits in Glencairn Museum
Number 9, 2018
In this essay for Glencairn Museum News, Dr. Eva Miller, Teaching Fellow for the Ancient Middle East, University College London, will explore the religious, archaeological, and architectural contexts of Glencairn’s remarkable Cylinder of Nebuchadnezzer.
The Academy Seal in Glencairn Museum
Number 8, 2018
Raymond Pitcairn’s Bryn Athyn Studios created a three-story tall glass mosaic version of the Academy of the New Church seal for Glencairn’s Great Hall. This article will explore the history of the Academy seal, where the emblem appears in Glencairn, and why it was so important to the Pitcairn family.
Read MoreHeadrests in Glencairn's Egyptian Collection: Practicality and Protection
Number 7, 2018
Glencairn Museum’s Egyptian collection features several objects related to the weres, or headrest, an ancient Egyptian pillow made of wood. Headrests were believed to magically protect the sleeper at night, and also eternally after death. In this essay for Glencairn Museum News, Egyptologist Dr. Jennifer Houser Wegner explains both the practical and magical functions of the ancient Egyptian headrest.
Read MoreGlencairn's Royalty: images of kings and queens in the medieval collection
Number 6, 2018
Whether we prefer to dream about the adventures of legendary medieval kings and queens, ponder the deeds of historical sovereigns, or invent rulers of fantasy worlds based on the medieval past, the art of the Middle Ages offers much to inspire our imaginations. In this essay for Glencairn Museum News, art historian Julia Perratore explores Glencairn’s collection in pursuit of the images fueling modern visions of medieval monarchs.
Read More“A Bower of Loveliness”: Glencairn Sculptures Used as Garden Decorations for a 1934 Wedding Reception
Number 5, 2018
A series of historic photos taken at the June 8, 1934 wedding reception of Raymond and Mildred Pitcairn’s eldest daughter, Gabriele, offers a rare visual insight into the design process employed by the Bryn Athyn Studios. For this special June wedding full-scale plaster models as well as actual works of art created for Glencairn in stone, metal, and stained glass were transported from the construction site to the wedding reception venue and repurposed as “garden sculptures.”
Read More"A Window to the Soul: Nishan Yardumian's Biblical Art"
Number 4, 2018
Bryn Athyn artist and arts instructor Nishan Yardumian (1947-1986) taught painting in Bryn Athyn for many years. He was an artist as well as a teacher, and was passionate about both professions. According to Yardumian, “Painting aims at the universal with the hopes that each individual can find his identification with it. Teaching aims at the individual with the hope of developing the universal.”
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