À la française - Art du vitrail
Sans doute le plus ancien atelier de vitrail au monde, l’Atelier Simon-Marq perpétue depuis 1640 à Reims, un savoir-faire unique et passionnant.
Suivez dans les coulisses de l’Atelier, Laurent Poultier du Mesnil et Pierre-Emmanuel Taittinger, qui après avoir géré sa Maison de Champagne, a repris cet Atelier afin de perpétuer l’art du vitrail à la Française. A son palmarès les plus beaux vitraux de France, tant anciens que modernes, dont ceux de la basilique Saint Rémi, des cathédrales de Saint Etienne et de
Reims, etc.
Installée dans une ancienne église, vous découvrirez les secrets de fabrication des plus beaux vitraux du monde, Art du Vitrail à la Française oblige.
PLUS D'INFOS :
https://www.ateliersimonmarq.com/fr
https://www.instagram.com/ateliersimonmarq/
https://www.facebook.com/AtelierSimonMarq/
RÉAGISSEZ :
Hashtag #AlaFrançaise
Suivez dans les coulisses de l’Atelier, Laurent Poultier du Mesnil et Pierre-Emmanuel Taittinger, qui après avoir géré sa Maison de Champagne, a repris cet Atelier afin de perpétuer l’art du vitrail à la Française. A son palmarès les plus beaux vitraux de France, tant anciens que modernes, dont ceux de la basilique Saint Rémi, des cathédrales de Saint Etienne et de
Reims, etc.
Installée dans une ancienne église, vous découvrirez les secrets de fabrication des plus beaux vitraux du monde, Art du Vitrail à la Française oblige.
PLUS D'INFOS :
https://www.ateliersimonmarq.com/fr
https://www.instagram.com/ateliersimonmarq/
https://www.facebook.com/AtelierSimonMarq/
RÉAGISSEZ :
Hashtag #AlaFrançaise
Transcript
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18:14 - With the acid - The acid, the sanding, etc.
18:16 - Oh yes, the sanding that gives this side. - That's it, this slightly opalescent side.
18:21 - Yes, yes.
18:22 - That's very pretty. - We also do stained glass, which we deploy on large surfaces without plans, for example.
18:29 We will glue the green sheet on a mechanical glass support,
18:33 we will bring it a backlighting,
18:35 and then it is also depending on the artists with whom we work.
18:39 In fact, we are talking about the work of the artist, and it is this work that we will transpose in stained glass.
18:43 And we will look for the technique according to the project that we are trying to transcribe.
18:47 So there is no limit.
18:49 And I think stained glass is eminently contemporary.
18:53 - When I had to move to the workshop, which was in a nice little art deco house of the race,
18:59 but which no longer presented the characteristics to develop the workshop, from all points of view,
19:05 I had to find a place, and I told the administrators and shareholders of the workshop that I was looking for a church.
19:13 And that my dream was to have a concrete church.
19:16 They all looked at me and located in Reims, in addition.
19:19 They said, "Well, Pierre-Emmanuel dreams of high-speed."
19:22 A few months later, a Parisian business manager called me saying,
19:26 "Pierre-Emmanuel, listen, a person I know well and who I really respect,
19:31 Monsignor de Moulin-Beaufort, arrives in Reims as an archbishop of Reims,
19:37 and I would like to invite him to dinner in Reims."
19:41 So I said, "Well, listen, I'd love to."
19:43 And so we meet again in a restaurant in Reims, and after a glass of champagne, I go to Hardy.
19:49 I didn't know Monsignor de Moulin-Beaufort, and I said to him,
19:52 "Monsignor, we must meet thanks to this business manager.
19:56 I need you, the workshop needs you."
19:59 I tell him about the workshop, of course, and I say, "We are looking for...
20:03 So do you have a church for us?"
20:05 He says, "Yes, I have one. We were in the middle of Covid."
20:07 I say, "Well, is it in Reims?" "Yes, it is in Reims."
20:11 "Is it made of concrete?" "Yes, it is made of concrete."
20:14 So I say, "Listen, is it serious?"
20:17 I say, "Yes, yes, it is serious."
20:19 And so I thought, "Maybe this is a conversation, a dinner agreement."
20:25 And I called him back a few days later, and he said,
20:28 "No, no, it's very serious. It's very convenient for the diocese
20:31 to install the oldest stained-glass workshop in the world in a church
20:36 between the church and stained-glass 800 years ago."
20:42 It made a lot of sense for a church to have this workshop.
20:46 And to work in silence, etc.
20:48 And he knew that the stained-glass workshop was not intended to be a capitalistic business or money.
20:55 So everything suited him perfectly.
20:57 So we desacralized the church with a very beautiful ceremony
21:00 with the people of the neighborhood, of the whole neighborhood, around the Sacred Heart.
21:04 I think it's a story full of meaning.
21:07 Yes, it's very beautiful.
21:08 It's very beautiful, and we are very happy to highlight this church
21:13 and to make it live with always a soul project that is essential.
21:17 I have a question. Behind you, there is a large scale.
21:20 I doubt that it is not the chair, a priori, of the abbot.
21:24 No, it is a very historical scale that has accompanied the life of the workshop
21:28 for decades and decades.
21:30 It is the scale that allows the abbot to work on the models of stained-glass in real size.
21:36 For a stained-glass window, we often make the model at scale, I mean, number one,
21:42 the size of what the stained-glass will be in the end.
21:45 And often these are large windows, and so we need this scale
21:49 which has seen a very large part of the history of the Simon-Marc workshop.
21:57 So, my minute of Professor Laurent, I am going to be in the extension of what Pierre-Emmanuel said.
22:02 When you want something, you really have to believe in it, hope against all hope,
22:06 and finally things end up happening.
22:09 But it's even nicer if you have this supplement of soul that you talked about.
22:13 It's thanks to you, I can tell you that it's a television that gives time to time.
22:19 And today in a world where we ultra-trail, or trail, or tweet, or email,
22:25 or in class, or in a marathon, to express yourself on your television,
22:29 it makes me think of the art of stained glass, it also makes me think of champagne.
22:33 That is to say, we can walk in a conversation, dream in a dialogue,
22:40 and it is a rare faculty that your television gives to those who have the chance
22:48 to be invited to meet you and talk to you.
22:52 Thank you very much, Pierre-Emmanuel.
22:54 [Music]