​A Studio Visit with Ernestine Tahedl
Showing the creation of Glorification II
For the new Salvation Army Sanctuary in Toronto
​

​Ernestine Tahedl graduated with a Master’s Degree in graphic art from the Vienna Academy of Applied Arts in 1961. Before moving to Edmonton in 1963, she collaborated with her father, Professor Heinrich Tahedl on stained glass commissions in Vienna. Over her long and productive career in both painting and glasswork, she has received many awards and honours in Canada and Europe.

#1 Design - “Glorification II” glass wall in 40 sections.

#2 Design in new Salvation Army Sanctuary, Toronto

One of her largest and most complex glass commissions is nearing completion.
Glorification II, for the new Salvation Army Sanctuary in Toronto, is a stained glass wall, covering two stories and measuring 22 by 25 feet. Images #1 and #2 show the artist’s renderings of the future glass wall inside the sanctuary. They illustrate the marvellous flow of colours and patterning chosen by the artist. Glorification is a spiritual concept found in many religions that describes the ultimate reunification of earthly forces with the divine. The artist chose primary colours of red, yellow and blue to convey this joyful transformative energy. “The design of the wall will complete and unify the spiritual and architectural concept for the interior of the sanctuary,” she says.

​The primary colours chosen by the artist include a variety of tonal values. For example, the reds, which symbolize blood and fire, sacrifice and courage, range from delicate swirling pinks to deepest magenta. The golden yellows, bringers of optimism, wealth and luminosity, glow with bright striations and flowing patterns. Blue glass conveys grace and healing - the peaceful tones found in aqua water and azure sky. Some glass pieces have a variety of shades, from light blue to deep indigo, mottled in flowing ornamentations.

#3 Arranging template pieces in glass studio in Vienna.

#4 Selecting glass in studio in Vienna

Over 4000 pieces of antique and high-quality semitransparent glass were used in the window. Each of the 40 sections is 55 by 30 inches, making the assembled size 22 by 25 feet. Tahedl hired a glass artisan with a studio in Vienna to assist with the project. “I am very fortunate that Joseph, an experienced technician, came out of retirement to help,” she says. The project, slowed by Covid, has taken thousands of hours to complete over four years.

In photo #3, Tahedl arranges paper template pieces on one of the 40 sections. In the background, Joseph cuts glass using a cutter wheel. When selecting colours, a mirror placed below the table shows the effects of light passing through the material in photos #4 and #6. Photo #5 shows the arrangement of paper templates on a sheet of green glass. The exacting and time-consuming task of leading the panels was completed by Joseph, shown in photo #7.

#5 Templates arranged on green glass prior to cutting

#6 Selecting glass in studio in Vienna

As well as a glass artist, Tahedl is a gifted painter who creates lyrical abstractions while listening to classical music. Her artwork is collected worldwide. In November 2023, her solo show at Madrona Gallery was very successful. In Victoria for the Opening, Tahedl charmed admirers by sharing stories of her upbringing in Vienna, musical inspirations and artistic process.

Now that Tahedl is back in Toronto, we chat on the phone about her remarkable glass project. The artist explains that one of her favourite tasks during the glass odyssey was selecting the colours for each section. “I felt confident and enjoyed the freedom of choosing from these beautiful materials,” she says. At 83, Tahedl bustles with energy and enthusiasm. In January 2024, she was a guest at the ILUMINA Classical Music Festival in San Paulo, Brazil. Festival director Jennifer Stumm, who is a concert violist and viola professor in Vienna, invited Tahedl to participate in an innovative workshop. Tahedl shared her passion for painting to music with 38 participating musicians. Each 90-minute session with a musician involved listening to a composition by Richard Strauss: Metamorphosen for 23 strings. The spectacular results were exhibited for all to enjoy.
​

#7 Leaded glass panel

#8 Completed panels close-up

Tahedl concedes that Glorification II  may be her last major glass commission. If so, she leaves a profound legacy. Using her skills and determination, she has excelled in an exacting art form changed little in 500 years. The medium of stained glass has greatly benefitted from the leadership, expertise and imagination of an extraordinary artisan.
​

#9 Completed panels with artist’s slippers and shadow for scale.

#10 Completed panels with artist’s assistant at work.

​Photos #9 and #10 show some of the completed panels spread out on an exterior patio. To show scale, view top left in photo #9. The artist’s red slippers and shadow are visible. In photo #10, Joseph adjusts some of the panels in preparation for shipping from Vienna to Toronto. In Toronto, the glass panels will be installed by a subcontractor with Tahedl on site overseeing the project.

More to come: look for future photos and text describing the upcoming installation of Glorification II at the Salvation Army Sanctuary in Toronto.

To contact Ernestine please email: [email protected].   
​Visit her website at www.ernestinetahedl.ca

​Web Design and Content by Kate Cino
Arts writer published in Focus on Victoria, Yam and Boulevard. 
History in Art degree and Public Relations certificate from 
​the University of Victoria
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