Enveloping Beauty: The History and Art of Framing

We rarely notice them, yet they shape how we see the art they enclose. A gilded flourish can elevate a painting to grandeur; a sharp border can sharpen modernist angles. Frames are the unsung storytellers of the art world – silent yet essential. In this article, frames take center stage to showcase the artistry and evolution of their design.

Read on as we chart the history of frames as they responded to artistic trends and technological innovations. In addition to some splendid historical examples, we’ll also break down the materials and methods that go into these works of art all their own.

A First in Fayum: The Early Origins of Frames

The history of framing can be traced to the ancient cultures of the Mediterranean. Some of the earliest frames, for example, were crafted in the ancient Egyptian Fayum Basin just south of modern-day Cairo. This region became renowned during the Ptolemaic dynasty for its encaustic portraits that adorned mummies for burial. As this art practice advanced, so too did frames. Archaeologists have uncovered paintings of gods and portraits that bear evidence of framed enclosures perhaps designed to protect and showcase the image within.

These smaller frames could have been inspired by an earlier Greek practice of crafting elaborate stone or terracotta frames to augment and elaborate sarcophagi. Though distinct from our modern definition of a frame, the use of this form – frequently adorned with decoration or narrative scenes – to highlight or celebrate the vessel it enclosed is like the role frames still play today.

15th-Century Finesse: More Movable Frames

The medieval era witnessed the advent of the picture frame as we think of it today, and it became particularly valuable for religious works of art as a means of protecting and facilitating the transport of art if needed. By the 14th century Italian craftsmen had perfected the cassetta, or encasing frame – a wooden structure often adorned with gleaming gold leaf, intricate vine-like carvings, and delicate punched patterns that shimmered under candlelight. These early frames, like that which survives on Simone Martini’s Madonna and Child (c 1326), became increasingly elaborate to further emphasize the devotional significance of these paintings.

The practice of framing thus reached a new pinnacle the following century with works like Gentile da Fabriano’s Adoration of the Magi (1423; Uffizi Gallery). Considered one of the first framed altarpieces, Fabbriano’s spectacular painting included an extravagant gilt wood frame that comprised a combination of delicate Gothic tracery and Classical architectural language to enhance the work’s awesome presence in its original home in the Florentine Church of Santa Trinità. Such frames were not limited to paintings; sculpted relief panels, like Domenico Rosselli’s Madonna and Child (c. 1439-1480) reveal how effective frames could be applied to dimensional works.

Regal Revolution: Frames in the 17th and 18th Centuries

In step with the dramatic flourishes characteristic of Baroque-era art, 17th-century frames became increasingly decorated. Extensive gilt scrollwork and garlands began to emerge from the frame’s surface in increasingly dynamic ways. In fact, some Baroque frames were so elaborate that they cost more than the paintings they enclosed—a trend that culminated in the courts of Louis XIV, where frames became status symbols in their own right. The most exuberant examples of this era were produced for the French court of kings Louis XIII and XIV. This flourish continued to grow into the 18th-century Rococo era, where frame designs defied traditional rectangular foundations in favor of playful, organic motifs.

During this time new materials were also incorporated into frame-making. For example, paper maché and plaster became a popular means to add dimensional foliage and other decorative accents without the weight of wooden versions. Makers elsewhere in Europe like the Dutch Republic also began to incorporate elements like tortoiseshell or ebonized wood inlays and veneers to replace the elegant golden profiles of other frames.

Industrial Era Innovations in Framing

The rise of the Industrial Revolution across Europe resulted in the capacity for mass-produced frames in a wider variety of styles. Gilding also became easier, as a mechanized process using bronze powder began to imitate gold leaf. Even with this expanded access, artists and collectors still preferred hand-crafted alternatives. Particularly vocal in this era were the creatives of the Arts & Crafts Movement, spurred by innovators like William Morris, who advocated for the beauty and skill visible in handmade artworks and frames. Artists embraced these time-honored techniques as well. James Abbott McNeill Whistler, for example, made the frames for his paintings like Caprice in Purple and Gold (c. 1864; Smithsonian) a core component of his larger design process.   

Frames in the Modern Age

Just as modern art broke from tradition, so too did frames. The Impressionists rebelled against the heavy, gilded styles of the past, opting for lighter, subtler designs. Georges Seurat, for example, specifically chose a simple white frame for A Sunday on La Grande Jatte (1884-1886; Art Institute of Chicago) to let his Pointillist technique shine without distraction. Meanwhile, the Art Deco movement embraced sharp geometric frames that echoed the era’s fascination with sleek modernity. Art Deco artists, for example, tended toward straightforward frames made from a blend of materials that juxtaposed metals with semi-precious materials to blur the lines between luxury and mechanization. The Impressionists and Post-Impressionists similarly simplified their frames to focus viewers on the paintings. Georges Seurat, for example, stipulated a strikingly simple frame for A Sunday on La Grande Jatte (1884-1886; Art Institute of Chicago) so that his Pointillist exploration of color and form could be most prominent.  

In our contemporary era, framing continues to be a space for novelty. New technologies fueled by advances in computing allow for even more precision in machine-guided carving for moldings and decoration. At the same time, though, the age-old traditions and techniques of framing are still practiced. For example, those who view Jean Auguste Dominique Ingres’ Portrait of Princess de Broglie in New York’s Metropolitan Museum of Art are treated to a beautiful frame designed to resemble those of 18th-century France yet crafted in the 1950s. Regardless of frames that look to the past or to the future for their inspiration, the art of framing continues to serve an essential purpose in protecting and harmonizing with the artwork it envelops. To do so, master craftspeople must still be well-versed in the core frame-making skills and materials.

Essential Frame-Making Techniques and Materials

Let’s take a closer look at some of these essential components that contribute to making frames:

Wood

Perhaps the most essential and thus most universal material in frame-making, wood proved an ideal foundation for frames both for its durability and its versatility as a vehicle for carving and customization. Various kinds of woods were commonly used, from poplar to pine, each with its own advantages and disadvantages. Oak, for example, provided enhanced durability, while softer poplar or pine were appreciated for their ease of carving.

Gold

Enhancing frames with gilded finishes has not waned in popularity since the technique was first applied centuries ago. Two of the most common methods applied over history have been water gilding and oil gilding. Water gilding, purported perfected in 16th-century Venetian studios, involved applying a thin layer of gesso atop which fine sheets of gold leaf would be applied and then later burnished to achieve a glowing brilliance. Oil gilding replaced the gesso with an oil-based adhesive like linseed oil and required less precision than the water-based technique (but did not allow for a finishing polish).

Layering Additions

While paper maché proved essential for early frame makers to create incredibly elaborate accouterments to amplify a frame’s surface, soon after artisans developed compositional ornament, or compo, in the 18th century that was a malleable, doughy compound easily molded into shapes and forms. Consisting of a relatively inexpensive blend of chalk and resin bound together with glue, compo was also highly cost-effective.

Metals and Synthetic Materials

Frames in the 20th century introduced a wider array of metals, including aluminum and stainless steel, to echo the clean lines of modern art movements. In addition, the advent of acrylic in the 1930s meant it too became a means of crafting frames at affordable prices.

The Future of Frames

Frames have earned increasing respect over recent years as artworks in their own right. Everyone from major museums to individual collectors has realized that frames are integral to the works they support and thus work more diligently to ensure that frames are cared for adequately. Modern frame makers and conservators must be well-versed in this history, from mastering historic construction techniques to stabilizing gilded surfaces, so that frames can continue to uphold their crucial role in both safeguarding and spotlighting the artwork they encase.