Altars 2023, Exhibited at FOG Design+Art, by Claire Tabouret and Nathan Thelen. Stained Glass and African Mahogany. Photo by Dawn Blackman
The full-scale maquettes for Notre Dame's south aisle chapel windows are currently on exhibit at the Grand Palais through March 2026. These new designs have sparked significant controversy in both artistic and preservationist circles. Some are challenging the introduction of contemporary designs in a place of such historic importance, arguing that they overshadow the historic elements. Others support the progress and see the modern development as adding to the historical narrative of the ancient cathedral. When I first heard that Notre Dame had selected the artist Claire Tabouret for its new windows, I immediately supported the decision, confident she was the right person to bridge the historic environment with contemporary art.
Not all contemporary glass installations in historic spaces succeed, but I believe this project will. After working with Claire at Judson Studios, I know her work transitions well into stained glass. She understands the medium and, while currently based in LA, she grew up in France, bringing a unique sensitivity to this project.
About ten years ago, when we started working with fine artists in earnest at Judson Studios, I began researching artists who worked in stained glass, especially from the 19th century on. Success often depended on partnering with the right stained glass studio to bring their vision to life. For example, Claire, collaborating with Reims-based Simon-Marq for Notre Dame’s windows, is an ideal pairing. Simon-Marq, established in 1640, is well known for working with Marc Chagall and artists such as Georges Braque and Joan Miró. Such partnerships can elevate artwork, as seen in Chagall’s case, which preserved his vision and introduced innovative techniques that resulted in luminous, enduring stained glass.
Notre Dame’s new windows evoke earlier debates at the Cathédrale de Tours and Westminster Abbey. At Tours in 2013, artist Gérard Collin-Thiébaut and glassmaker Pierre-Alain Parot’s windows drew admiration for boldness and criticism for departing from tradition. I don’t think they fit the cathedral. At Westminster Abbey in 2018, David Hockney’s Queen’s Window, made by Helen Whittaker of Barley Studio, was praised for its vibrant color and modern style, but also debated for its sharp contrast with its setting. These examples show both successes and challenges in balancing history, design, and dialogue with Europe’s great houses of worship.
This conversation continues with the choice to replace non-original windows in Notre Dame with contemporary art glass. For architectural preservationists, this is not a permanent change: Viollet-le-Duc’s 19th-century windows will be preserved, and Claire’s can be easily removed by future generations. The cathedral's historic structure remains untouched, as the new glass panels can be removed with minimal effort. Reversibility is crucial, ensuring future generations are not constrained by today's alterations and maintaining the building's authenticity as conservation approaches evolve.
From Judson Studios’ perspective, while controversial, Claire’s designs show respect for the space. Her figurative windows, representing Pentecost, replace non-figurative ones and do not mimic medieval designs—a common post-war approach. Their installation demonstrates the continued power of contemporary stained glass and creates a significant symbol of Notre Dame’s rebirth.
