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Article

Ursula Härting

Small painting of the type hung in a Kunstkammer—an art collection formed by a connoisseur in northern Europe at the end of the 16th and especially in the 17th century. It can, in addition, refer to painted depictions of these collections.

Encyclopedic collections (...

Article

Place where works of art are displayed (see Display of art; see also Museum, §I).

Article

Alan Donnithorne, Andrew Thompson and Sheila R. Canby

Attachment of a work of art to a support or setting, or the application of accessories or decoration as embellishment. In many types of mount, these two distinct concepts may be combined, and the mount serves both a functional and decorative purpose.

Alan Donnithorne

Although the term ‘mounting’ may apply to the support or fixing of three-dimensional art, this article is concerned with the description and history of the mounting of two-dimensional or flat format pictorial and other graphic material. In East and Eastern Central Asia this includes paintings and calligraphy in scroll, screen, fan, album and banner formats, as well as prints of various sorts; in India and the Islamic world, calligraphy, painted decoration, miniatures and various kinds of banner painting; in the West, mainly prints, drawings and watercolours. The chief substances used in the fabrication of these works of art are such materials as paper and woven silk. These form the original, or primary, support for the pigment with which the pictorial image or script is created. The pigment, usually mixed with a binding medium, may be applied directly to the surface of the support, as in an East Asian scroll painting or European engraved print, or the support may first be coated with a preparation or ground as in a Renaissance metalpoint drawing, an Indian or Islamic miniature painting or a Tibetan tangka. In their unmounted state, all these works of art are fragile and vulnerable to damage from handling and other environmental effects of unprotected storage or display, and adequate physical support in the form of a mount became necessary once people sought to preserve them. In some civilizations mounting evolved with the art form itself, as in the case of East Asian scrolls; elsewhere methods evolved from the need to organize and display collections, initially in the form of albums and later by fixing into a cut-out cardboard surround or ‘window’ mount (USA: mat). In the West this practice developed when collections of drawings and prints began to be assembled from the 15th century onwards. Since then, the ‘window’ mount style of mounting has evolved in conjunction with the increasing practice of framing and displaying graphic art....

Article

Saul Zalesch

The Society of American Artists (1877–1906) was the most conspicuous and historically significant of the art organizations that proliferated in New York during the last quarter of the 19th century. It saw itself, and scholars have usually portrayed it, as a liberal challenger to the ...

Article

Shirley Millidge

Distinguishing mark incorporated into paper and visible only through transmitted light. Watermarks may include names, symbols, initials, seals, and dates. They are used as a mill or papermaker’s trademark, with a given mill using several different watermarks to distinguish papers of differing qualities. Before c...