A truly returned the significance of ancient art style stained-glass panel "Al-Nouveau." Stained Glass ceased to be perepevom past, decorative toy, only to decorate the interior. He received iconography, style sounding very new style, and sometimes had the same "linear module" ( "line Horta," "scourge blow"), and that all other kinds of art. And, once again became an integral part of architecture.

Stained Glass Al-Nouveau is unthinkable without an American named Louis Comfort Tiffany, who invented and applied not only a new type of glass (U.S. opalistsent), but also a new kind of attachment: finest copper foil - foul - allowing you to create voluminous things in the technique of stained-glass panel. This was a revolution, has opened new possibilities of using the material. Arch equipment crossed the border itself architecture. Established designers firm "Tiffany Studios", performed grace lamps, clocks and vases worthy of being a symbol of an entire era, translated into a main motto style - unity and beauty benefits.

The architects at the turn of universals-XX century became the true creators of the environment that surrounds rights. trying to combine all the arts into one harmonious whole - "gesamtkuns + werk" - "an absolute piece." Henri van de Velde and Victor Horta, Luis Salliven, Frank Lloyd Wright, Charles Reni Mackintosh realize their talents in various arts, particularly viewed as purely handicrafts, including those designed stained glass windows.

One of the pioneers of new principles became the Frank Lloyd Wright. Arch windows Wright, samples laconicism and abstraction, have become a model for several generations of designers-vitrazhistov all subsequent century. In his house was not only an incredible number of built-stained-glass windows - windows, ceilings ceiling, floor panels with LEDs - but also appeared three-dimensional objects from colored glass: furniture for the dining room, desk lamps.

Artistic concepts Wright continued their development in leading German design school, 20 - s - Bauhaus, where the rate of stained glass in 1933 to teach Paul Klee and Josef Albers, as well as in Denmark in the works of Theo van Dusburga and Piet Mondrian.

In 50 - s of the restoration of destroyed and the creation of new stained-glass windows were Henri Matisse, Georges Rouault, Marc Chagall, Fernand Leger, in the postwar years, the magnitude of construction and widespread use of new building materials have led to this "intervention" in stained glass architecture. This also contributed to a powerful arsenal of stockpiled glass processing methods and techniques of fastening