I'm in Washington DC for a few days vacation. Even so, it's hard to turn the framing lobe of my brain off. Spending a lot of time in museums doesn't help matters either. So, a few tidbits I thought I'd share:
I went to the Albrecht Durer exhibit at the National Gallery of Art. Incredible. There were a few drawings on which Durer had used both sides of the paper, and were framed with both sides exposed. I took a very close look and was amazed. The window mats were cut slightly larger than the paper size, by maybe 3/16". They were mounted with strips of very long-fibered, very sheer handmade paper adhered along the perimeter of the paper all the way around. Looking at it as closely as I could I could barely see the fibers attached to the art, and the exposed paper of the hinges all the way around the art were nearly invisible. The mounting was almost as amazing as the art.
Almost all of the woodcuts and engravings were top mounted to paper decorated with ruled lines. It was obvious that it was quite old. They had all been cut to the very margins of the art, and I understand that at the time it was standard practice to do that with such art and display them with the ruled lines, etc. Obviously the potential value wasn't an issue at the time and they weren't too concerned about changing the condition of the art.
I also visited the big exhibit of the Pre-Raphaelites. Again, amazing. The vast majority, if not all, of the paintings were in contemporary frames, making them 100-150 years old. Almost all had glass and I was intrigued by the construction of some of the frames. It was as though there were a small frame whose outside dimensions exactly match the sight size of the large outer frame, and then set in, sort of like a window inside its framing. Along the top edge or near the top on the sides were little knobs or latches that made it look as though it could be unlocked and swung out, the same way some windows hinge out for cleaning. Fascinating, as Spock would say.
The color of the gallery's walls was also interesting. Not the usual beige or dove grey, but deep red or dark plum. Different, but it worked well.
Finally, at the Museum of American History I felt compelled to slap the next person who took a picture with a flash. You know, there is a reason many of those rooms are so dark. Just for the record I didn't slap anyone.
I went to the Albrecht Durer exhibit at the National Gallery of Art. Incredible. There were a few drawings on which Durer had used both sides of the paper, and were framed with both sides exposed. I took a very close look and was amazed. The window mats were cut slightly larger than the paper size, by maybe 3/16". They were mounted with strips of very long-fibered, very sheer handmade paper adhered along the perimeter of the paper all the way around. Looking at it as closely as I could I could barely see the fibers attached to the art, and the exposed paper of the hinges all the way around the art were nearly invisible. The mounting was almost as amazing as the art.
Almost all of the woodcuts and engravings were top mounted to paper decorated with ruled lines. It was obvious that it was quite old. They had all been cut to the very margins of the art, and I understand that at the time it was standard practice to do that with such art and display them with the ruled lines, etc. Obviously the potential value wasn't an issue at the time and they weren't too concerned about changing the condition of the art.
I also visited the big exhibit of the Pre-Raphaelites. Again, amazing. The vast majority, if not all, of the paintings were in contemporary frames, making them 100-150 years old. Almost all had glass and I was intrigued by the construction of some of the frames. It was as though there were a small frame whose outside dimensions exactly match the sight size of the large outer frame, and then set in, sort of like a window inside its framing. Along the top edge or near the top on the sides were little knobs or latches that made it look as though it could be unlocked and swung out, the same way some windows hinge out for cleaning. Fascinating, as Spock would say.
The color of the gallery's walls was also interesting. Not the usual beige or dove grey, but deep red or dark plum. Different, but it worked well.
Finally, at the Museum of American History I felt compelled to slap the next person who took a picture with a flash. You know, there is a reason many of those rooms are so dark. Just for the record I didn't slap anyone.
