This engraving is early 19th. It is a fixed under glass, with a work of illumination on the periphery, all was done by hand. In golden letters, marked below: Atala and Chactas surprised by the storm. It is an allegory in the antique way. The frame is in gilded plaster also vintage early 19th. You will notice friction and wear on the glass, no break on the glass. Several gaps on the periphery, the engraving on the other hand remained fresh. Everything is nature For the state thank you to detail the pictures. This article is from the book Larousse "Dictionary of painting". Painting under glass, or "under glass", consists of performing the painting work on the back of a glass plate. One of the difficulties of the process is to paint the inverted motif and, contrary to the normal technique, to execute the details (the nose, the eyes, the flowers) before the background (the face, the landscape), the spectator having to look at the completed work on the unpainted side of the glass plate. The artisan uses oil or gouache colors mixed with a special glue. Glass called "églomisé" is the technique that uses gold or silver sheets welded between two glass films. Widely practiced in Europe, from Spain to Poland, and to Asia, glass painting is linked to the glass industry and its diffusion. If the origin goes back to the early days of Christianity on the sidelines of the stained glass, its real starting point is in Murano, in the lagoon of Venice, great center of the art of glass, and its production, important from the second half of the sixteenth century. s., develops throughout the seventeenth. The Venetian studios are credited with two groups of paintings: one with deep blue skies and characters in the foreground against the backdrop of Lombard landscapes, the other using fine hatch patterns that evoke the technique of engraving. The religious and New Testament subjects are inspired by Venetian or Lombard works, then by Caravaggio School; Although made in series and intended for a popular clientele, these skillful paintings, with a subtle palette enhanced by gold and a scholarly design, reflect the spirit of the models they copy. Elements of religious and mythological decorations, designed to adorn the drawers and doors of the cabinets, are manufactured in parallel. As early as the fourteenth century, glassmakers from Murano migrated to other cities in Italy, Austria, Germany, France and the Netherlands. They bring their technique, but find on the spot new themes in the works of Dürer, painters of the school of Fontainebleau, Flemish landscape painters. Workshops in Paris or near the capital may come from these paintings of the seventeenth and eighteenth centuries. and these precious boxes adorned with glass, whose neatness, refinement and themes derive their source from the canvases of Largillière, Lancret, Boucher, Chardin, Greuze, Hubert Robert, Vernet, Boilly. It is not impossible that some of them are the work of Provencal workshops (the museum Cantini, Marseille, retains an important collection). In fact, the history of this trend of painting under glass, very clearly inspired by the great painting, remains to be done. We only know that it was also practiced in England, Spain and China, imported by Westerners. Of a very different character are the glass under the glass of Central Europe, souvenirs and ex-voto that the workers of the glassworks of northern Bohemia mass-produced, to supplement their wages, for the pilgrims who went to the famous shrines of Austria, Moravia, Poland. Coming from Italy by Tyrol and Bavaria c. 1770, the technique remains flourishing until v. 1880. In contrast to the Italian paintings under glass, the fixtures of Central Europe are inspired by the old images of pilgrimages, reproduce the familiar and local saints, the popular heroes, the traditional dances. It is a regional art, folkloric, seductive by its popular charm and the liveliness of its colors, and which settles in Alsace in the second half of the eighteenth century. To religious subjects are added secular subjects: portraits of illustrious persons, allegories. Less vivid colors than in Alsace, the ex-voto under glass of the sanctuary of Notre-Dame de Laghet, near Nice, seem to come from a local workshop. The twentieth century has practiced painting under glass. An exception, however, among the painters of the Blaue Reiter, who, experimenting before 1914 craft techniques, try this kind of painting, no doubt attracted by the brilliance that gives the colors the glass plate: Jawlensky, Macke, Gabriele Münter Especially Kandinsky, in this experimental phase of his work preceding the discovery of Abstraction, and Campendonck. In Belgium, Floris Jespers executed quite a few paintings under glass and, in France, Marcoussis, after the war. Photos are an integral part of the description. Dimensions: Frame Height: 51.5 cm Width: 58.7 cm Engraving Height: 24.5 cm Width: 33.5 cm
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