In the summer edition of The Glazier, the magazine of the Worshipful Company of Glaziers and Painters of Glass there were no less than three articles about the work of John and Patrick Reyntiens.
We all know Patrick Reyntiens’ work from the big commissions he has fulfilled on his own and, earlier in his career, with John Piper, but many people are not familiar with his more intimate and personal work on single panels that have come out of his own love for Greek Mythology and the metaphors for life of drama and music. This publication is packed with vibrant photographs of both artists work, and if you want a souvenir copy of the magazine for yourself, you can download it from the Worshipful Company of Glaziers website.
The introduction to the ‘Zest’ of Patrick’s work was written by Richard Blausten the editor of the magazine, who interviewed Patrick at length for the article. It includes both technical, historical and biographical details that can only be garnered from an in-depth conversation with an artist. But Patrick is not backward in coming forward, and the second article in the sequence, is by Patrick Reyntiens himself, in which he argues that there is a strong place for stained glass in contemporary buildings.
The final article in the series is the first, of what I suspect may come to be many, articles about the work of Patrick’s youngest son, John Reyntiens, whose window at the Houses of Parliament for the Queen’s Diamond Jubilee gift was unveiled in April 2012.
Following in his father’s footsteps John has carved out his own niche for contemporary design, but also shows the depths of his versatility in glass through the more traditional work he can deliver when called upon.