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Different Kinds Of Picture Frames.

Frame development is connected with occurrence of an easel painting – with the Middle Ages, with late Gothic. During an epoch of late Gothic and the early Renaissance, the frame acted as the architectural construction connected with architecture of church and proceeding in architecture of a picture. Ordinary, not the architectural frame, consisting from laths, boards and profiles, appears from the middle of the fifteenth century. During all epoch (especially in baroque) prevailed the gilt frame – magnificent (decorated with a vegetative ornament, images of fruit, the bowls, at first cut out of a tree, then cast of plaster), neutral, softly, but resolutely delimiting a picture from an environment. In bourgeois Holland of the seventeenth century dominated dark (black, brown) frame with simple profiles, natural to dark and warm pictures on tone. Together with impressionists there is a white frame, especially suitable for bright, florid painting.

Old masters were very attentive to a frame, considered its effect in the course of work, and sometimes even painted in a ready frame, considering certain tone and a decorative rhythm of a frame. Therefore, compositions of old masters often very much attract the attention in initial frames. So, for example, the well-known picture of Correggio ?The Night? (now it is in Dresden) makes much stronger impression if to insert it into that frame, in which it has been originally planned by the master (a frame remained in church of St. Prosper in Reggio): the massive, plastic frame underlines depth and dynamics, as though extends a picture; symmetric character of a frame with the allocated central axis underlines asymmetry, contingency of a composition.

Connection between a picture and a frame in Italian, especially Venetian, Renaissance painting is often underlined still by accord of the architecture represented in a picture, with tectonics of a frame, which as though continue one other, for example arcual frame end finds an echo in the arch or a dome of the represented architecture, and thus there is an extreme unity and isolation of impression. At the painters of the eighteenth century inclined to extreme optical illusion, this organic merge of a picture and a frame comes, however, so far that instead of a real frame the picture appears inserted in an illusory, imaginary frame. On the contrary, painters of an epoch of romanticism for achievement of the same purpose often resorted to other method, continuing the image, moving it on a frame in symbolically ornamental images (Runge, Klinger). So there was the mixture of borders leading to loss of a distance with the validity, meanwhile, as the frame should have other validity, than a picture. Supervision over frames of old masters allow to establish one more principle – conformity between a profile and width of a frame and the size of a picture: so, the Dutch painters were in the habit to insert the small pictures into large frames with deep, vertical profiling, which as though attracts a look to the center of a picture and isolates it from any effect of an environment.

Choose correct frame for your art works and it will make them even more expressive.

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