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.
For a Contemporary fine art frame, our initial consultation is in the gallery, where the work stands alone on the easel, starts the adventure as together we begin pulling profiles and samples, building an impression of might work.