Saturday, 20. October 2018

Frame color should be chosen slightly darker or lighter than the base color pictures. Ordinary natural wood almost never let you down, and in any case, miraculously be approach to the design of a picture. Sometimes occur and dissonances. Working with preymuschestvennym ratio of neon bright shades will be in dissonance with the frame of stained wood. If the work is at once cold and warm colors, we recommend to choose a frame of cold and warm tones. If you choose a wooden frame, it is advisable not to forget about the surrounding objects: advise chosen so that the frame color in harmony with the color of the furniture.

Nevertheless, Be careful: other shade frame should not merge with the color of the walls in the hall. Style of painting. (Similarly see: Ch?rl?? Lee). Topography and features baguette. Relief (texture), the pattern of baguette must complement or repeat the track shown in the picture. If you plan to buy and pick up her prints themselves and can not because of some reasons to choose a safe design, we recommend to buy plain baguette, no frills. Too often decorated frame is not highlight sheet, and indicate only the importance of the purse of the owner. And painting with such a baguette seems pretentious and give bad taste. For decorative frames can include, for example, baguettes in Baroque style.

These should be resorted to, being just absolutely confident in their design abilities. The picture should attract the viewer's eye, but do not frame. The traditional baguette stucco is perfect for the painting, written in traditional style. Picture painted in the Dutch school of painting is not worth framing in the fashionable narrow shiny frame or a colorful frame. Picture painted in cool colors will look better in silver light design. Gold frames are universal: they apply equally well in tune with the warm and cold tones of the picture. The width of the baguette. Broad frame works well for classical painting icons. Small format paintings on – broad frame. The area of the frame must be greater than that of the picture itself. But if you want to arrange a collection of small paintings on the stand, prefer the thin frame. Graphic work suggest that execute on certain rules. Graphic work must be under glass, as the paper gradually turns yellow and paint fade. Also, graphic work must be in the frame mat. Mat helps to focus on artwork, creating a surround view of the deep bottom field. For graphics work, watercolors or pastels, have a narrow place, and the average frame. By the way, with watercolor paintings look white mat, not dominant over the fine structure of watercolors. If the size of the picture horizontally, side mount must be wider than the top. Conversely, for vertical work top mat should be wider than the sides. For a square picture – the bottom edge of mat wider sides and top edge, and the parties themselves and the upper side should be identical. 6 inches – the most common width of the mat. Very narrow band of baguette (slip) that is worn on the edge mat, it looks very stylish. Mat color should be a little darker than the lightest tone of the work. Aluminum or silver prints will simulate the light and will be the place when you make a contemporary paintings. If the the picture is bright colors, silver baguette balance the juicy shades. In contrast, charcoal drawings or ink should be treated in a dark frame without decorations.

Russian Art

Wednesday, 17. October 2018

Returning mentally to all Russian art in the first half of the xix century as a whole, we notice in all its various manifestations in common. Most of the artists of this time looking at life mostly heroic beautiful and poetic. This commitment was a peculiar form of protest directed against the ugliest forms of contemporary social life. With portraits painted in these decades, people look at us, beautiful and intrinsically noble, sometimes full of romantic awe, sometimes melancholy, dreamy. These are images created Kiprensky, Tropinin, they can be seen among the papers Bryullov.

Significance, seriousness and poetry filled with images of people from the people in the pictures this time. Are exactly as they are, for example, in the works and . Interest in the life of the people, to his fate inspires and historical painting: it is the people, his passion, his dreams are most concerned about two prominent historical painters of this time-Bryullova and Ivanov. Similarly, the creators of majestic architectural buildings of St. Petersburg and Moscow lived in my mind churches, public buildings and areas popular crowd: the builders and sculptors inspired by the ideals of democratic, civic nature of public life, is closely fused with the ideas of the greatness of the Russian people as a nation.

In addition poeticizing positive, beautiful in existing reality, the art of these years maturing trend of the critical image of its vices. Here the conflict between progressive and reactionary elements in the Russia's public life of the first half of the xix century find their immediate image characteristic episode of modern life. The most vivid expression of this trend was in the art Fedotov. Both of these trends that determined the nature of an art in the first half of the xix century, are equally important for understanding the significance of this period in the history of Russian art. Both of them, each in its own, fed by the works of Russian painters, graphic artists, sculptors and architects of the past half century.