A little "light" reading...

We love frames.  The more we learn, the more we want to know...

The evolution of frames and their relationship to architecture, PART 1

Posted: 31 Mar 2020 by PML

Picture frames, from gilded mediaeval polyptychs to the contemporary mouldings we use today, have an intimate connection with elements of architecture – in their structure, the profiles of mouldings, and the kind of ornaments with which they’re decorated. This is partly because frames most often function like doors or windows: they are openings onto other worlds or different visions, and an architectural border to the opening helps the mind of the spectator to focus on those separate spaces, and to isolate them from surrounding reality.

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FRAMING MODERN MASTERS: A CONVERSATION WITH HEINZ BERGGRUEN

‘I have been interested in frames as long as I have been interested in pictures’ 
— Heinz Berggruen

I flew to Paris, in 1991, you flew in those pre Eurostar days, with the art journalist Susan Moore, to talk with Heinz Berggruen, the noted dealer and collector, about his taste in antique frames for framing his pictures. The Berggruen Collection of classical modern art, including works by Picasso, Braque, Cézanne, Seurat, and Van Gogh, described by the then Director, Neil MacGregor, as ‘a collection of heroes’ was temporarily exhibited in newly refurbished rooms in London’s National Gallery and had just opened.  The collection was noted for its taste and consistently high quality. The same uncompromising eye that shaped his selection of works of art, as a dealer and as a collector, also concerned itself with their presentation and I wanted to ask him about his personal choice of frames. ‘I have been interested in frames as long as I have been interested in pictures’ said Berggruen.

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Letting the Frame Speak for the Artist and the Era

 

By J. Peder Zane

Oct. 28, 2015

                  


To appreciate one of the most provocative developments in art, museumgoers are shifting their gaze from the dance of shadow and light, color and texture that graces the canvas to consider the painting’s essential but often ignored partner: the frame.  

 

The art world equivalent of Ginger Rogers — in the sense of making the main attraction look good — frames have long subtly shaped the viewer’s experience while being taken for granted.

But now frames are experiencing a renaissance of attention and respect from both museum curators and collectors. “I don’t remember a single discussion of frames in graduate school,” said Mark Cole, curator of American paintings and sculpture at the Cleveland Museum of Art. “Now frames are increasingly seen as rich areas of study and as precious historic objects that must be preserved.”

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JUNE 12, 2015 / LUXURY LIFESTYLE

MASTERS of THE FRAME

The rules for displaying art are changing, say the masters of modern-day framing, who suggest putting your Picasso in a heavy-gilt number

and your Warhol in a Plexiglas box

Back in 2013 a photograph of a lost van Gogh painting, A Vase with Five Sunflowers, was discovered in the archives of a Japanese museum. The significance of the discovery was not confirmation of the painting’s existence (sold to a Japanese collector, it was known to have been destroyed in a fire during World War II), but that it showed the painting in its original frame, as chosen by van Gogh himself. Instead of the ornate gilt frames most often used to display the paintings of the Impressionists, the Dutch artist had opted for a simple wooden frame painted orange, a color that complemented and accentuated the vibrancy of the artwork itself.

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Art News World

APRIL 30, 2015

What goes around: The art of framing

The right frame doesn’t just set off a painting to perfection, it can also increase its sale value. So why are they so often overlooked? A new exhibition at the National Gallery aims to give frames their due, as Emma Crichton-Miller reports

 

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Edge trimming

From Van Gogh to Matisse, great painters have always agonised over framing their work. So why does nobody notice?

 

By Phil Daoust

First published on Thu 2 Jan 2003 10.36 EST

 

Think of your favourite famous painting, the one you could describe with your eyes closed. Now try to remember how it is framed. A riot of gold-leafed carvings? A simple strip of ebony? Nothing at all? A tenner to a penny says you haven't the faintest. The market in images has no room for frames. Magazines, newspapers, exhibition catalogues and art books act as if they don't exist, cropping them out of reproductions even when the painters saw them as integral parts of their work.

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