“I’ve been framed!” Words most often heard by the accused
perpetrator in a crime drama, but, they could properly be used in art
circles with one slight change. “I’ve been properly framed.” Most art
today isn’t properly framed artistically or to last and withstand the
ravages of time.
For artwork to be properly framed artistically, it really takes the
work of a framer and a historian. The frame should complement the piece
in a number of ways; the color of the frame should harmonize with the
composition, enhance the art, and be correct to the era the piece
depicts and reflect the room in which it is hung. For example, an Icart
etching should not be placed in a baroque style frame and hung in an
arts and crafts room setting. Some people will disagree and say
whatever the owner wants is right. But then it is only right to the
owner.
As a former antique dealer who framed many prints, the most
important thing about choosing a frame would be finding one that fits
the piece size wisely. I was terrible at cutting mats. Before the piece
was loaded (placed in the frame), I might make adjustments to the frame
with stains, paint or other forms of embellishments to complement the
art.
That’s the wrong way to do it artistically, but the right way to do
it economically. I always felt that if the new owner didn’t like the
framing job they would take it to a professional framer. Framing a
piece, even in the wrong frame, is a way to protect it from harm.
I mentioned matting before. This addition to a piece of art can
enhance it tremendously and should be done by a professional who has
access to various colored and textured mats, and the tools to properly
cut the mat. Matting is very important to the life of the piece. It
separates the art from the glass so that if there is any condensation
on the underside of the glass it won’t be transferred to the art. I
have purchased framed items, and when I tried to unload the frame to
clean the glass, I lost the print because it had adhered to the glass
and a section separated from the piece.
If you purchase a framed piece, unload it, you can clean the print
with wallpaper cleaner or the inside of white bread. When you reload
the item be sure that you use archival (acid free) mats, backing board
and paper. Regular paper and cardboard contain residual acid (a
leftover from the manufacturing process).
If these materials touch the piece or are close to it, dampness
could reactivate the residual acid and cause an acid burn (usually a
brown mark) on the art. This can sometimes be removed by an expert
using a weak solution of bleach. However, since it is such a delicate
operation, the conservator must decide upon the strength of the
bleach and later test for residual base or acidity of the piece to
bring it to a neutral condition, or learn to love the brown stain since
it brings age and character to the art.
Often I have heard owners wax eloquent on the old boards used to
back their print commenting that here is a true proof of age. If this
were a true test of age, then the art would have terrible brown marks
on it from the boards. Wood contains many chemicals and soft wood
contains the most.
If you insist that the boards be a part of your art, you should have
a mat cut to place in back of the piece before you put the boards back
on. This will stop transfer of chemicals from the boards to the art by
contact, but it might not stop the boards from exuding chemicals in
vapor form that would reach the piece and damage it. No, you can’t put
a piece of polyethylene in before you put the boards back on because a
piece of art has to breathe.
So art is kind of a living thing that is not necessarily in the context of the art alone!
Bob Becker is a resident of Richfield Springs.
|