A Lost History: Tracking the Innovations of Discarded Visions
Subsequent Statement of Responsibility
Richard, Ann-Marie
.PUBLICATION, DISTRIBUTION, ETC
Name of Publisher, Distributor, etc.
Sotheby's Institute of Art - New York
Date of Publication, Distribution, etc.
2020
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
85
DISSERTATION (THESIS) NOTE
Dissertation or thesis details and type of degree
M.A.
Body granting the degree
Sotheby's Institute of Art - New York
Text preceding or following the note
2020
SUMMARY OR ABSTRACT
Text of Note
By considering the multiple aspects of a picture frame, this thesis paper explores the relationship between the frame and the painting it surrounds. Functioning to both preserve and present a painting, the frame is often a concern of curators, dealer restorers, and institutions. Though neglected, the painters themselves had opinions about the framing of their work. This research centers on the classification of a picture frame as either fine or decorative art. First, the metaphysical and marketing ramifications of the frame will be considered, followed by a concise history of the frame that will focus on the nineteenth century Impressionist painters. Further, specific artists and the frames they preferred will be analyzed, including James McNeil Whistler, George Seurat, Claude Monet, Vincent Van Gogh, Piet Mondrian, Robert Ryman. Quotes from contemporary interviews with prominent figures in the field are included throughout, leading to a discussion about the possibilities of restoration and the responsibilities of museums in relation to public presentation and education. Although it seems that frames are largely considered decorative, this exploration shows that there is potential for further appreciation and analysis of frames as fine art.