Semprun Nicolas is a fifth generation glass
painter from a family renowned for its windows since
1855. His grandfather, Joep Nicolas, won the "Grand
Prix des Arts et Métiers" in Paris in
1925 and started a great career as an innovator in
window design. He also was known as "the father
of modern stained glass" in America in the 40'
and 50' before moving back to the Netherlands where
he had major commissions from the early fifties on.
Diego was born in Paris, raised in the Netherlands
and moved to the United States with his family in
1968. In 1972-1974, ack in Paris he studied art
and then moved to New York where he lived until 1990.
In New York, he studied art, painted, belonged to
life drawing classes and worked on many different
art projects in fine and commercial art. In 1990,
he moved to New Hampshire where his mother, Sylvia
Nicolas, lived, whom he had assisted with window
projects a few times. Diego started his glass painting,
working with his mother on a chuch in St. James, New
York. He painted his first window and slowly, the commissions
In 1995, he and his mother went to the Netherlands
to paint a window in the St Pancratius church in Tubbergen.
In this Church there were already windows from the
previous four generations.
The window Diego painted was admired and he received
a commission to paint five more windows the following
At the same time, Tubbergen was planning an artistic
event based around glass, exhibition featuring slumped
glass, painted glass, design glass and much more.
The people organising this asked if Diego would be
interested in opening a studio in Tubbergen.
Since 1998, Tubbergen has Atelier Semprun Nicolas
and Diego now has made windows for churches in various
parts of the Netherlands and has windows in private
collections in America, Geramny, the Netherlands and
"In my work, I try to give new meaning to the
tradition of painting on glass and stained glass window
design. The work expresses a chaotic balance and has
its roots in painters which I have admired over the
years although I like mixing to create my own expression.
The composition is usually the focal point wether
I am designing a church window or an abstract
window for myself.
I use hand blown glass only and the construction is
usually the same as it has always been for stained
glass windows as I find there are still plenty of
discovery's to be made in the painting and design
of this medium."
After an exhibition last june in Boston (U.S.) for
the Stained Glass Association of America, Diego is
working on four big windows for the Cathedral