Five generations of stained glass tradition

Founded in 1908, in Sombor, Stained glass Studio Stanisic was one of the few art glass studios in the Austro - Hungarian Empire, nearest ones being located in Vienna and Budapest. 

After the World War One (in 1918) Austro-Hungarian Empire was effectively dissolved and with the independence of the West Slavs and South Slavs, city of Sombor became a part of Kingdom of Serbs, Croats, and Slovenes.  In 1929 the official name of the state was changed to "Kingdom of Yugoslavia" by King Alexander I. This was the most prosperous period for the Stanisic Studio. The Studio had 55 full-time employees working on many significant projects across Southeast Europe.


1930's  - Stanisic studio took part at the International exhibitions in Greece and Turkey.  In 1931, at the World Fair in Milan, Italy the studio was awarded for portraits painted on the glass of the Italian Royal Family, prime minister Mussolini and the Pope. 

1940's - At the end of World War Two (in 1945) a Communist Party overthrew the Royal Monarchy. Yugoslavia was devastated by the war and soon after the new government started building factories and buildings, for social purposes.


During those years, the Stanisic Studio presented stained glass in the style of social realism. One of the first projects was stained glass depicting the reconstruction of the country and the army for the Executive Council of the Federal People’s Republic of Yugoslavia. The following projects symbolized the luxury, wealth and happiness which some believed communism would bring. That euphoria lasted until the mid-’60s.


1960's - Milan Stanisic II went to Germany to receive training with the Mayer-Cetler and Gerling Studios. He took over the business from his father Stevan Stanisic I,  later this year. The time of Communist enthusiasm passed, and a period of more modest building projects began. During that time many of long-neglected historic buildings were being restored. 


1970's - The next period of stained glass in Yugoslavia became known as post social realism.  In the meantime, the role of religion was increasing, and demand for religious stained glass windows was in need. Yugoslavian society longed for a return to the fundamental values of human life; by preserving everything that was unjustly neglected for four decades. Stained glass restoration became a significant part of the Stanisic studio business. 


1980's - Milan Stanisic II won the Silver Medal of the University of Arts in Belgrade and promoted to Director of the Stained glass Division within the Academy of Applied Arts. The major project of that time was the restoration of the Synagogue in Novi Sad. The Synagogue in Novi Sad is the largest sacral building in Yugoslavia.  During that time Stanisic Studio restored about 3,200 square feet of stained glass including two large rose windows and a 40-foot diameter stained glass dome. Milan Stanisic II participated in many significant exhibitions related to art glass; Singapore, Japan, USA, etc. 


In addition to making sacral stained glass windows, the Stanisic Studio followed the development of modern architecture, incorporating the experience of old techniques in the contemporary style.


1989 - Stevan Stanisic II went to the United States to improve his artistic skills. He took an apprenticeship with two major stained glass studios in New York City, Greenland and Rohlf’s. Some of the participating projects include: Henry Bendell Store - 5th Avenue, New York City, Riverside Church - New York City, Holy Trinity Church - 5th Avenue, New York City, Little Church around the corner - New York City, Metropolitan Museum of Art - New York City (Restoration of Tiffany windows).


1990's - During the civil war in former Yugoslavia, Milan Stanisic II moved the Stanisic Studio to Budapest, Hungary. In 1993, Stevan Stanisic II immigrated to the United States continuing his career at Blenko Glass Company.  Two years later he founded stained glass studio "Glass Art Stanisic" in Huntington, West Virginia. In

1997, Stevan Stanisic II started a successful business relationship with stained glass designer Brenda Belfield. He relocated the Studio to Washington D.C. and started a new company VitrauxArt.


2001 - Stevan Stanisic II  moved his stained glass business abroad, back to a family-owned studio in Serbia. While he continued his presence in the United States most of the project made for US clients were fabricated overseas.   


2016 -  Aleksandra Stanisic,  took over the family business in Sombor, Serbia while Stevan Stanisic II and his wife Mila returned to the USA and established a new branch of a family business in Naples, Florida.