October 7th, 2010 | Author: admin
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Setting During the Italian Renaissance
The plot development is inextricably linked to the architecture.
Mark, whether they are used for paintings, carvings and mirrors were designed as an integral part of an architectural space in which often had a role against the harmonization doors and windows.
Not only the design of the framework evolve with the evolution of architectural taste, but the pictures often changed at the same rate of the interior, which in turn modified to meet the tastes of the time.
So it did not matter if a "Salvator Rosa" - under eighteenth century style was appropriate for a 16-century painting of the Crucifixion, or a Velazquez portrait was shown in an English rococo frame, the tables have always unwittingly lived in the same environment of a piece of furniture that belonged to another era and that the framework itself was the connecting element of this harmonious coexistence.
Description of materials and techniques used in the development of frameworks is as important as their correct classification and dating. The work of construction and size held in a workshop can be found in an area decorated and often a unique and distinctive element of a particular historical period and region.
These activities inside a workshop style features belonging to a particular area and period of a distinctive way of a framework, rather than the influences of school the same area of architecture and historical period.
Nowhere in the world was this more true than in Italy during the Middle Ages and the Renaissance, a period was very important for the variety of styles in the production of frames "as opposed to formal standards prevailing elsewhere and period.
However, with all its wealth and unlimited variety of decorative patterns, frames in the Italian Renaissance is characterized by simplicity and efficiency in your organization structural and ornamental, mainly determined by the inherent properties of materials and resources that were used to make frames.
On the other hand, when speaking of the Italian Renaissance structure, we must consider some of the technical problems faced by artisans of the era, as well as ways and means who approved it to deal with them.
early Italian panel paintings carved into their own frame of a single piece of wood. The design focused on the panel, leaving a border around the perimeter with a beveled edge interior. The practical purpose of this framework of principles was mainly to protect the paint, as the painter could rest his hand against this boundary without touching the painting itself.
The border itself was then painted, usually red, to isolate the central figure around, then gilded and decorated with frequency. Over time the definition of painting became more difficult, given the resources available at the time and taking into account the increasing size of the painting which means that the amount of wood to remove grew, the operation became less practical and too expensive.
At the same time made it easier to create angles moldings applied directly to the panels, creating the same result but more efficient. These strips are formed according to the geometric profile of the permanent structure along its length to emphasize the decorative function subdivision of the object, or mediate the transition between two surfaces set at an angle, as the leading party.
The moldings can be smooth or carved decorations, mainly botanical or geometric motifs. This procedure creates a uniform basis for subsequent layers of plaster and the decorated surface of isolated panel and its frame of timber movements. In altar, where a panel was not enough and need to paste several panels, frame and its elements had the double function decorate, but also to support the structure.
In addition, large altarpieces were commissioned from an artist who lives in another city had to be assembled parts can be disassembled for easy transport, and once rebuilt structures maintain a high tolerance for movements of natural wood.
The altarpieces were covered, then decorated and gilded. These techniques remains the standard for design and construction of frames, especially in Tuscany, through up to mid-fifteenth century. While in Tuscany the Gothic style were rather austere, designers and sculptors in the north of Italy felt the French influence and German. It was in Venice itself for the first time created a totally independent and self-sufficient to sustain the painted panel. This was the first decisive step towards the modern concept of the structure, built to house a work of art, and not as an invisible part of a work of art.
The Gothic frame was replaced in the second half of the tenth century fifth in a private context tabernacle for votive images. Some of these frames are inspired by Brunelleschi drawings.
In Tuscany in the fifteenth and sixteenth century, the participation of some of the principal architects and sculptors in the design and manufacture of frames became more and more frequent. Church architecture has always had a decisive influence, however, even outside the religious and liturgical context, the style of the painting and the frame of evolution through different lines.
Tabernacle frames, is used in a private devotional context to contain sacred images, while for secular subjects such as portraits and rural scenes preferred a different kind of framework that had no liturgical reference, for which the so-called "cassette" frame was born. Its form is derived from the tabernacle, but different because it had the same profile on all four sides.
During the Renaissance in Italy, the framework that had the most success and development was the "Sansovina" frame, which derives its name from the Florentine sculptor Jacopo Sansovino. However, this framework became popular in the Veneto region and especially in Venice. The distinguishing feature to "Sansovina" is the profusion of overlapping and interconnecting scrolls.
In contrast, in Tuscany, the "Tondo" framework became the most representative of the time. The main characteristic of this type of framework is its round shape and special features not found in other types frameworks, for example, the round shape has no axial direction, leaving the artist free to define the upper and lower through decorative elements, or Continuous use of decoration, or to give a sense of rotational motion.
The popularity of the round frame is everywhere, in domestic, religious and civic, in the sixteenth century, the round was popular, even for portraits.
The Renaissance craftsmen were particularly sensitive to different properties of different types of wood according to their different structural and decorative uses.
cheaper quality wood and lower, such as poplar and spruce or pine, is used for secondary structure parts, such as the back or simple carvings, while the lime, which is more compact, was used to size more complex. These types of lower quality wood were gold. In the walnut other, rarer and more expensive, is used within the framework of United Nations-gold or gold in plots "luminolegno." pear wood was often a good substitute for nuts, both for its color and grain, but also because it was easily accessible.
Towards the middle of the sixteenth century ebony began to be used often adorned with jewels. The oak was quite rare in the Italian frames, while the brown elm is often used for structural capacity rather than a decoration.
Prior to the gilded frame was covered with plaster and bolus, therefore, the sizes rarely were completed in the details, frames with large sizes was a layer of yellow on the surface bolus and bolus prominent parts red, red bolus fact create a better effect during polishing, so it was placed in the most prominent. The frame was then gilded with gold leaf finish over the entire surface, except for to the top edge, where yellow bolus was visible, which was very similar to the color of gold.
About the Author
Maselli Frames
is an artisan workshop in Florence, Italy
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