So many influences converged after the Second World War to argue for simplicity in framing; uncomplicated profiles, painted surfaces and a minimal gold content. As in all areas of creativity, successful simplicity – avoiding the stark or the dull – sets its own challenges. With traditional gilded frames, we work with just one colour, manipulating it to suit the painting. But with a painted Modern British frame, we have to find the colours and tones which best work with the work itself.
With a painted Modern British frame, we have to find the colours and tones which best work with the work itself.
Nuance can be vital; colour is often built up in a series of washes or glazes, starting perhaps with a yellow, adding a green or blue, and then rubbing down the final colour to reveal hints of the shades underneath.
Every single Bourlet craftsman has trained as a fine artist and often pursues his or her own practice today. So this attack on colour holds no fear for any of us; at times, it’s rather like being back in art school.
At Bourlet, we just love to make a Louis XIV frame, carving its sensuous lines, applying and then stripping back gold leaf to accentuate its swirling form.