Referenced in Les vitraux de l'église Saint-Jean-Baptiste de Sceaux, with the author's congratulations. Without my knowledge, this window was restored with disparate, incoherent elements placed at its center. My creations can still be seen around the center.

Façade rose window

Three façade lancets beneath the 13th-century rose window

For these windows, I did not go to the site; the background patterns were imposed.

Two choir windows

For these windows too, I did not go to the site; the background patterns were imposed.

Three choir windows

Choir window

East window of the Chapel of the Virgin

1969: Departure for Québec. Based on a novel by Réjean Ducharme, L'Avalée des avalés. Exhibited at the French Pavilion in Montréal; the photo is of poor quality.

Iode Ssouvie and her friend flying over Montréal in a hot-air balloon

For the window next to it, I only made the cartoon. Here, the window in the photo is one I made entirely myself.

South window of the Chapel of the Virgin

At the request of the Alcan plants, Jeannette experimented with oxidized aluminum and pigments derived from wool dyeing: thus her aluchromies were born. Exhibitions: Galerie Art Pictural, 1971; S.A.P.Q, Place Bonaventure, Montréal, 1972; Université de Montréal, January 1973; Salon de l'aluminium de Chicoutimi, May 1973; Université de Sherbrooke, May 1973.

Aluchromies and various exhibitions

Back from Québec, 1974: a work order was issued for the Chapel of Saint Joseph. Canon Manien chose the theme of the genealogy of Christ and followed its iconography; the execution, carried out “with a comb” in the family workshop, was completed quickly.

Two north windows of the Chapel of Saint Joseph

Stained-glass window for my husband, Bernard Weiss, in his laboratory on rue Manin. Now in a private collection.

Stained-glass window for a laboratory

Opening of her own workshop in 1980, Villa d'Alésia.

Workshop door

Published in the 1st Salon du Vitrail of the Centre International du Vitrail (1980) and in Métiers d'Art (1982) by Françoise Perrot.

Figure emerging from the glass

The Life of Tobias, along with two abstract infills (next page) made for the Église Saint-Étienne de Beauvais, enters into dialogue with the windows of the Le Prince family, 16th-century glassmakers from Beauvais. My intention was to rebalance the composition of lancets taken from different windows while keeping my own personal graphic style. I worked with grisaille and silver stain to reconcile the figurative elements inherited from the 16th century with contemporary figurative idioms — sometimes abstract — and to blend them into a single harmony, preserving the soft light characteristic of the Le Prince windows. Referenced in an article by Chantal Bouchon.

The Life of Tobias

Façade window

A window in the north nave

Trial panel accepted by Anne Gruner Schlumberger

Five small stained-glass windows and an oculus

The first infill is a window dedicated to Saint Nicholas, containing at the top of the left lancet a very fine ship by Jean Le Prince. The two right-hand lancets hold panels that came from another window.

Two infills

For the Romanesque transept, whose 19th-century ironwork was kept, I made the light play with brown and black grisailles on clear glass. Jean Taralon regarded this work as an exemplary creation for its integration into Romanesque architecture (Métier d'Art, no. 32, October 1986).

Two stained-glass windows in the transept

Creation of 20 m² of accompanying glass to showcase a 15th-century Picard donor and, on the left, a later figure. In homage to the 15th century, I used, as in their sumptuous glazing, many expanses of glass painted in grisaille.

A window in the south transept chapel

Twelve stained-glass windows in the nave, one window in the portal of the south nave, two windows in the north and south transept arms, and a small façade rose window.

Twelve stained-glass windows in the nave

In this very dark nave, I proposed very light windows on maquettes, and I executed them mostly in clear glass painted with grisaille, accompanied by a few touches of silver stain and small pieces of green glass. It is one of my favorite works, because it was a true work of light, the building being very dark.

Two windows in the south nave

My proposal for showcasing the Tree of Jesse won the competition. Some of the kings date from the 15th century; the other old panels are from the 17th and 19th centuries. My infills are abstract, except for 4 kings, whose crowns I replaced with hats. Because of the tie bars running through the mullions, I had to place the large 17th-century prophet in a register at the base, the only register in which the panel could fit in its entirety. Nathalie Frachon-Gielarek, who was in charge of the restoration, followed my work in a spirit of friendship. To my great joy, two kings were rediscovered, which I was able to set higher up in place of mine, and the large prophet in place of one of my abstract panels.

Tree of Jesse - Infills and restoration

I was entrusted with the rearrangement of the 13th-century stained glass from the cathedral choir. The windows, removed during the First World War, had been ravaged by a fire that broke out in a cabinetmaker's workshop: the remaining panels were incomplete, with molten lead on charred and shattered glass. The main photo shows the final state. With the approval of Historic Monuments, I chose not to make my creations and infills in the central window too dark, unlike the eighteen charred borders and the 13th-century elements of the five medallions. My creations are simply a little less light than those of the two windows on either side of it. My work was overseen by Nathalie Frachon-Gielarek, stained-glass historian and research officer.

Creation and restoration with infills

Having won the competition with abstract maquettes, I proposed to Historic Monuments that I adapt to the wishes of the master, the rector and the parishioners by designing, in alternation, allusive or figurative windows relating to an iconography. I spent a month in La Martyre completing in situ the full-size colored cartoon of the 16th-century Tree of Jesse, in order to immerse myself in the atmosphere inside the church and to harmonize my infills with the magnificent Dormition, a 16th-century Breton stained-glass window located in a choir chapel next to the Tree of Jesse.

Infills for the 16th-century Breton Tree of Jesse

For all the windows, the palette and the main color accents of the abstract maquettes were retained. The project, carried out with excellent momentum, was praised. A later defect, however, browned the windows: the grisaille used, although certified, turned out to be non-compliant. Laboratory investigations are underway. Here, the main photo shows, from left to right, Jacob's Ladder, the Manna in the Desert during the Exodus, and the Tree of Jesse presented earlier.

Five windows in harmony with the Tree of Jesse

Allusive window on Pentecost

The embankment, with its trees, and the mountain barely let any light into the north nave. The coloring of the cartoons corresponds to the colors chosen for the execution of these windows. After the cartoons had been made to the dimensions of the windows, the masons narrowed all the openings. All the cartoons had to be redone to the new dimensions. This work suffered the same damage as La Martyre.

Map of the stained-glass windows