Five Frames and the Stories They Tell
Julia Vázquez, Ph.D.
This research project examines five frames from the long history of re-framing. These case studies include examples of the “marco Mengs,” now the unofficial institutional frame of the Museo Nacional del Prado; the Napoleonic “cadre Empire” in use on paintings at the Galleria Borghese; and the “modèle Duveen” designed for paintings for trans-Atlantic export by the art dealer of the same name; among others. An essential part of what is often referred to in museums as “collections care”, the re-framing of a painting is one of many changes that can be made to a work of art that can estrange it from its historical point of origin, and from its so-called “original state”. The ephemerality of frames makes them germane to the question of loss in art history and makes plain the instability of works of art: just as individual frames reveal changing conceptions of the art object to which they are fitted, so too re-framing campaigns can point to wholesale re-evaluations of art itself. In examining frames that were designed for and fitted to paintings that had been completed prior, this project focuses its analysis on the non-originality of the frames. It uses their ready changeability to destabilize assumptions about the fixity of the art object, and mobilizes the anachronism between painting and frame to highlight these objects’ shifting relationships to the passage of time.