Mercedes (Clementina Marta Del Carmen) Pardo

Mercedes Pardo (1921-2005, Venezuela) was born on July 29, 1921, in La Pastora, Caracas, Venezuela. The eldest daughter of Rafael Pardo Becerra and Inés Mercedes Ponte Machado, Mercedes grew up between Isla de Margarita, Los Teques and the Venezuelan capital.

As early as age 7, Mercedes began drawing the landscapes of Antímano, a small town on the outskirts of Caracas, revealing her talent and passion for artistic expression. During her youth, Mercedes Pardo was taught painting, drawing and art by Danish professor Ingeborg Fostberg, along with the nephews of Tito Salas. Mercedes grew up surrounded by artists and works of art, all of which shaped her sensibilities.

At the age twelve, Mercedes Pardo began taking courses at the old Academia de Bellas Artes (Academy of Fine Arts), also called the Santa Capilla School, under the free tutelage of Antonio Edmundo Monsanto, a cousin of her father. Her uncle, Luis Alfredo López Mendez, also a painter, convinces the family to allow the young woman to pursue her vocation for art, with the support of her parents. Before the age of 20, she formally entered the Escuela de Arts Plásticas y Aplicadas de Cararas (Caracas School of Visual and Applied Arts), directed by Monsanto. She completed her studies in 1944.

In 1945, she married Marco Bontá, a stained glass and mural painting professor from Chile. The marriage ended in divorce shortly thereafter. She traveled to Chile to attend the Santiago Academy of Fine Arts (1947), where her first solo show was held. 

In 1949, she was awarded a fellowship by the Government (Ministry of Education), and then moved to Paris to enroll at the École du Louvre, where she studied art history under Cohe de la Ferti and Jean Cassou. During this period, she began producing collages and her first abstract works. In 1951, she married Alejandro Otero in London. 

In 1952, she returned to Venezuela and participated in the International Exhibition of Abstract Art (Cuatro Muros Gallery, Caracas). Abstractionism began to be recognized in Venezuela during the 1950s, and a climate of renewal for both artistic production and education was supported by Caracas University’s implementation of an artistic integration project and by the return of a generation of artists educated in France. Around 1956, Pardo began producing pieces that could be categorized as pre-informalist given their use of a rich pictorial layer, though her work tended toward a formal exploration of color effects. In 1956, she began doing stage sets with Elizabeth Schön’s Interval at the National Theater in Caracas. In 1960, she moved to Paris, where she painted abstract watercolors characterized by their lyrical brushstrokes, drips and blotches that created a highly dynamic artistic space. 

In 1962, she became a founding member of the San Antonio de Los Altos Cooperative School in the State of Miranda, known today as the Community School and initiated its craft workshops, where she also taught. Working in architecture integration, she produced a number of pieces, including a stained-glass window at the La Hoyada station of the Caracas subway (1983), a mosaic mural at the J. M. de los Ríos Children’s Hospital (Caracas) and the ceiling of La Viña Shopping Center in Valencia (Carabobo State). In 1991, she held her most important anthological exhibition, Abodes of Color at the National Art Gallery. During her final years, she worked and lived in San Antonio de Los Altos (State of Miranda).

Mercedes Pardo became one of the most important representatives of abstract art in Venezuela. Her work revolved mainly around painting but also extended to stained glass, enamel on metal, printmaking, integration of the arts projects and theatrical set and wardrobe design. She was also an active and accomplished arts educator.

SOLO EXHIBITIONS

1947 | Mercedes Pardo, Sala El Pacífico, Santiago de Chile.
1962 | Guaches y tintas sobre papel [Gouache and Ink on Paper]. Museum of Fine Arts, Caracas, Venezuela.
1962 | 36 acuarelas y gouaches. Museo de Bellas Artes, Caracas.
1964 | Signes [Signals]. Sala Mendoza, Caracas.
1967 | Signes [Signals]. Librería Cruz del Sur, Caracas.
1962 | Mercedes Pardo. Museum of Fine Arts, Caracas, Venezuela.
1969 | 1 x 9, Color de la serigrafía [The Color of Serigraphy]. Museum of Fine Arts, Caracas, Venezuela.
1970 | Obras recientes [Recent Works]. Sala Mendoza, Caracas.
1971 | Pinturas de Mercedes Pardo [Mercedes Pardo: Paintings]. Centro de Bellas Artes, Ateneo de Maracaibo, Zulia State, Venezuela.
1977 | Mercedes Pardo, Galeria Pecanis Hamburgo, Ciudad de México, México.
1977 | Obra Gráfica de Mercedes Pardo [Mercedes Pardo: Graphic Works], Traveling exhibition.
1977 | Mercedes Pardo. Espejo inverso [Mercedes Pardo: Inverse Mirror]. Adler Castillo Gallery, Caracas, Venezuela.
1980 | Mercedes Pardo en Margarita. Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela.
1991 | Mercedes Pardo: Moradas del color {Mercedes Pardo: The Abode of Color]. Retrospective. Fundación Galería de Arte Nacional, Caracas, Venezuela.
1993 | Obra gráfica de Mercedes Pardo [ Mercedes Pardo: Graphic Work]. National Art Gallery, Caracas, Venezuela.
1994-1995 | Obra gráfica de Mercedes Pardo [ Mercedes Pardo: Graphic Work]. Espacios Cálidos, Ateneo de Caracas. Caracas, Venezuela.
1996 | Mercedes en el Museo Sacro [Mercedes at the Museo Sacro], Caracas, Venezuela.
2000-2001 | Mercedes Pardo 1951-2000. Alejandro Otero Museum, Caracas, Venezuela.
2004 | Mercedes Pardo, Altamira Gallery, Caracas, Venezuela.
2005 | Homenaje a Mercedes Pardo en el día del Artista Plástico (Tribute to Mercedes Pardo on the Day of the Visual Artist). Fundación Museo Alejandro Otero (Alejandro Otero Museum Foundation), Caracas.
2005 | XI Salón de Arte Alejandro Otero. Homenaje a Mercedes Pardo (11th Alejandro Otero Art Salon. Tribute to Mercedes Pardo) (October). Mayor’s Office, Los Salias, San Antonio de los Altos. 
2006 | Mercedes Pardo. Obra gráfica. (Mercedes Pardo. Graphic Work). Galería de Arte Nacional (National Art Gallery), Caracas and Simón Bolívar University, Library Building, Valle de Sartenejas.
2011 | Mercedes Pardo, más allá del color [Mercedes Pardo: Beyond Color]. PDVSA La Estancia. Caracas, Venezuela.
2018 | Mercedes Pardo, más allá del color [Mercedes Pardo: Beyond Color]. Sicardi Ayers Bacino Gallery. Houston, EEUU.

GROUP EXHIBITIONS

1942 | III Annual Official Exhibition of Venezuelan Art. Museum of Fine Arts, Caracas. New York International Fair, Riverside Museum, New York.
1944 | V Annual Official Exhibition of Venezuelan Art. Museum of Fine Arts, Caracas.
1951 | Espace-Lumière. Galerie Suzanne Michele, Paris. Abstract art. Gallery Cuatro Muros, Caracas.
1956 | Gulf Caribbean Art Exhibition. Museum of Fine Art, Houston, Texas. First Exhibition of Abstract Art, Don Hatch Gallery, Caracas. Collages, Gallery Sardio, Caracas. Cristóbal Rojas Foundation, Museum of Fine Arts, Caracas. XVIII Annual Official Exhibition of Venezuelan Art, Museum of Fine Arts, Caracas.
1958 | Peinture, Sculpture, Céramiques du Vénézuela. International Fair in Brussels, Belgium.
1959 | V Bienal de Sao Paulo, Brazil.
1960 | Art Today. Havana Cuba. Living spaces. First collective exposition of informalism, presented in Caracas and Maracaibo, Zulia State, Venezuela. II Inter-American Hall of Painting. City of Barranquilla, Colombia.
1960 | XXI Annual Official Exhibition of Venezuelan Art, Museum of Fine Arts, Caracas.
1961 | XXII Annual Official Exhibition of Venezuelan Art. Museum of Fine Arts, Caracas.
1961 | Venezuelan Painting 1661-1961, Museum of Fine Arts of Caracas, also presented in Maracaibo and San Cristóbal, Zulia and Táchira States respectively, Venezuela.
1962| XXI Venice Biennial. 17 Venezuelan Painters, itinerant show presented in New York, Haifa and Tel Aviv.
1962 | Retrospective of Geometric Art, G Gallery, Caracas. L’Art Latinoamericain a Paris. Musée Municipal d’Art Moderne, Paris. XXIII Annual Official Exhibition of Venezuelan Art, Museum of Fine Arts, Caracas.
1963 | II Armando Reverón Biennial, Museum of Fine Arts, Caracas. Acquisitions and Donations, Museum of Fine Arts, Caracas. Transition, Galerie D’Art Ravenstein, Brussels, Belgium.
1963 | Córdoba Biennial, Argentina.
1964 | Illustrationen. Staadliche Kunsthalle, Baden Baden. Germany. XXV Annual Official Exhibition of Venezuelan Art.
1964 | National Award for Applied Arts (shared with Alejandro Otero) and the Fina Gómez Foundation Award.
1964 | International Exhibition of the Illustrated Book, Baden-Baden, Germany, together with prominent figures in the history of contemporary painting such as Picasso, Miró, Braque, Max Ernst, José Luis Cuevas, Jacques Villon and Raoul Ubac.
1964 | Signes [Signals]. Cruz del Sur Bookstore, and Exhibition Hall of the Eugenio Mendoza Foundation, Caracas.
1965 | XXVI Annual Official Exhibition of Venezuelan Art. Museum of Fine Arts, Caracas.
1965 | Olmos. Donation Miguel Otero Silva. Museum of Fine Arts, Caracas.
1965| Original Graphic Works of Venezuelan Masters. Center of Contemporary Art, Caracas.
1966 | International Exhibition of Artistic Craft, Stuttgart, Germany. Enamel Award, shared with Alejandro Otero.
1967 | First Hall Marcos Castillo, Hippodrome La Rinconada, Caracas, Engravings. Exhibition Hall of the Eugenio Mendoza Foundation, Caracas.
1969 | Collective Exhibition of December. Exhibition Hall of the Eugenio Mendoza Foundation, Caracas. First Engraving Biennial, San Juan, Puerto Rico. Graph 69. Exhibition Hall, Mendoza Foundation, Caracas.
1970 | Mercedes Pardo: Recent Works. Exhibition Hall of the Eugenio Mendoza Foundation, Caracas. The Museum and Design 1959-1970, Museum of Fine Arts, Caracas, 1971 Confrontation 71 Mercedes Pardo, Alirio Palacios and Francisco Bellorín. Ateneo of Caracas. 34 Latin American Stampers. Museum of Fine Arts, Caracas.
1972 | Salón Las Artes Plásticas in Venezuela, Museum of Fine Arts, Caracas.
1972 | 21 Estampadores latinoamericanos [Latin American Engravers] from Colombia, Mexico and Venezuela; Museum of Fine Arts, Caracas.
1972 | Grafica 4, Exhibition Hall of the Eugenio Mendoza Foundation, Caracas. Exhibition / Auction of Artworks. Exhibition Hall of the Eugenio Mendoza Foundation, Caracas.
1973 | 8 Venezuelan Artists. Librería Monte Ávila Gallery, Bogotá, Colombia.
1974 | Grabados y cuadros para la conferencia del mar [Engravings and Paintings for the Conference of the Sea] (mayo 19-26). Sala de Exposiciones Fundación Eugenio Mendoza, Caracas.
1974 | XXII Exposición Subasta de Obras de Arte (noviembre 3-13). Sala de Exposiciones Fundación Eugenio Mendoza, Caracas.
1974 | Exposición inaugural nueva sede del Museo de Arte Moderno (febrero), Mérida.
1974 |Escenografía y vestuario para la obra Chuo Gil de Arturo Uslar Pietri, dirigida por Alberto Sánchez en el Ateneo de Caracas.
1975 | Panorama of Venezuelan Painting, House of the Americas, Havana, Cuba Tribute to the School of Plastic and Applied Arts of Caracas, Exhibition Hall of the Government of the Federal District, Caracas II Exhibition Exhibition of Works of Art, Palace of Industries “Alejandro Hernández,” Caracas.
1976 | Caracas 1960/1965. Gallery Adler / Castillo, Caracas.
1976 | The Artists and Olivetti. Museum of Contemporary Art, Caracas. Works in Small Format of Great Artists. Bookstore Cruz del Sur, Caracas.
1977 | Artists from Venezuela with the Uruguayan people. Gallery Durban, Caracas
1977 | Inaugural Exhibition to the memory of the Barcelona painter Rafael Rosales, Municipal Gallery of Modern Art, Puerto La Cruz, Anzoátegui State. 1977 | New Propositions. Casa de Bello, Caracas.
1978 The Hand, the Silk, the Color. Museo de Arte Contemporáneo de Caracas, itinerant exhibition presented at Garcés Velásquez Gallery, Bogotá, Colombia; and Museum of Modern Art of Latin America, Organization of American States, Washington D.C.
1977 | XI World Youth Festival, XX Anniversary Cuban Revolution. Gallery La Trinchera, Caracas
1977 | L’Oeil in Question, Noroit, Arras, France, along with Carlos Cruz Diez and Jesús Soto, among others.
1977 | Small History of Drawing in Venezuela, Current Study, Caracas.
1977 | First Great Durban Auction, Durban Gallery, Caracas. All the artists to the rescue of the Cristóbal Rojas School. Arístides Rojas Humanistic Center, Caracas
1977 | Venezuelan art pays homage to the 20th anniversary of the House of the Americas. Gallery The Wall, Caracas.
1977 | Graphic Venezolana. Museum of Fine Arts, Caracas. 1980 Venezuelan Constructive Art. National Art Gallery, Caracas.
1977 | World Print III. Special Edition Purchase Award, San Francisco, California. 1977 | Venezuelan Art Today; Boston 350 years, Boston, Massachusetts.
1977 | Old Engraving, New Engraving, Engraving Always. CANTV Room, Caracas.
1977 | Paintings, Sculptures, Serigraphs of Contemporary Artists, Exhibition Hall Alejandro Ríos, Maracay, Aragua State.
1977 | XXXIII and XXXIV Auction Exhibition of Works of Art. Exhibition Hall of the Eugenio Mendoza Foundation, Caracas. The Collage in Venezuela. Contemporary Studio Gallery and Center for Contemporary Art, Caracas.
1981 | First National Biennial of Visual Arts: Tribute to Pedro Ángel González. Museum of Fine Arts, Caracas.
1983 | II National Biennial of Visual Arts. Museum of Contemporary Art of Caracas.
1984 | Graphics, Paintings, Sculptures, Museum of Contemporary Art ‘Francisco Narváez’, Porlamar, Nueva Esparta State, Venezuela.
1984 | I Biennial of Havana, Cuba. 1985 | Sheds of a Generation. Caracas Museum, Municipal Palace of the Federal District, Caracas.
1987 | Graphic works of the Taga: Collection of the Museum of Art La Rinconada. CANTV Exhibition Hall, Caracas.
1987 | The Imagination of Transparency. Museum of Fine Arts, Caracas.
1987 | National Exhibition of Plastic Arts: Guest Artists Section. Museum of Contemporary Art, Caracas.
1987 | 50 Years of Painting in Venezuela through the National Awards. Museo de Arte La Rinconada, Caracas.
1990 | Auction at the Yellow House, National Art Gallery, Caracas.
2000 | Art and Dexterity of Engraving in the Collection. National Art Gallery, Caracas. Confrontations. Ateneo of Caracas.
2012 | Sobre papel, ayer y hoy (On Paper, Yesterday and Today) (April 4-May 20). Sala TAC, Caracas.   
2014 | De la abstracción al cinetismo (From Abstraction to Kineticism) (October 31). Banco Central de Venezuela, Caracas.
2017 | Constructing Constructivism (December 1, 2017-October 15, 2018). Juan Carlos Maldonado Art Collection. Miami, Florida.
2018 | Creadoras latinoamericanas (Latin American Creators) (December). Museo de Bellas Artes (Museum of Fine Art), Caracas.
2018 | Contesting Modernity. Informalism in Venezuela 1955-1975 (October 18, 2018-January 21, 2019). The Museum of Fine Arts, Houston.
2019 | Women Geometers (June 29-September 14). Atchugarry Art Center/Piero Atchugarry Gallery, Miami, Florida.

Perez Art Museum PAMM

Tanta genialidad y creatividad en una solo imágen. Fotografía mediados de los años 50, en París, Francia. Parte del grupo de los disidentes, Alfredo Maraver, Omar Carreño, Alejandro Otero, Mateo Manaure y Genaro Moreno. Imagen de archivos del artista Alfredo Maraver.

Perez Art Museum PAMM

Written by Joely Rogers

It’s only the start of 2020. We’re still gaining our footing in this brand-new year. In fact, the whole decade is stretched before us like a blank canvas or a scene not yet photographed.

That can be both exciting and a bit nerve-wracking for creative people!

As artists and photographers, we inherently understand the power of color to calm our minds and lift our spirits. Color experts get it, too. Last fall, many of them chose their “2020 colors of the year” with sensitivity to our collective desire for optimism as we enter a new era.

Perhaps the most well-known color trend forecaster, Pantone Color Institute, selected Classic Blue as the Color of the Year for 2020. Leatrice Eiseman, Pantone’s Executive Director, told TIME magazine: “It’s a reassuring blue, full of calm and confidence.”

Sounds like just what we need as we face an unfolding future. In fact, if we were to flashback to 1999 and all the anxiety of Y2K, we’d fine that Pantone’s 2000 Color of the Year was another member of the restful, reliable blue family: Cerulean.

A palette of possibilities.

Ah, but Classic Blue is not alone in the 2020 color trends. Pantone selected 11 other colors for spring/summer 2020 that reflect our hope to balance stability with creative possibility. Pantone’s curated collection includes vibrant colors (Orange Peel, Biscay Green), softer tones (Sunlight, Coral Pink) and neutrals (Ash, Brilliant White).

Color curators galore.

Pantone isn’t the only company who designed their own predictions for “Color Trends 2020”. When we compared the palettes picked by Sherwin Williams, Benjamin Moore, Behr and Crescent, we found some commonalities. We also found inspiration, which led us to bring some of these beautiful colors to our frames.

I’ll highlight a few of our favorite color groupings, and the Frame Destination frames that play off these 2020 color trends.

Metal Frame Nielsen Profile 117V in Galactic Blue

Shades of blue.

Pantone was joined by others who named various blues among their 2020 color trends. Witness Sherwin-Williams’ jewel tones; Benjamin Moore’s periwinkle, blue-green and sapphire; Behr’s softly bright blue; and Crescent’s peaceful blue. Frame Destination contributes to to this bluesy palette with these new frame options:

Wood Frame Profile 792 in Sky Blue
Wood Frame Profile 311 in Blue
Canvas Floater Frame F797 in Sky Blue
16×20 Rustic Blue Picture Frame
Metal Frame Nielsen Profile 97 in Florentine Cobalt
Metal Frame Nielsen Profile 117V in Galactic Blue

Wood Frame Profile 792 in Mint Julep

Greens and in-betweens.

Shades of mint and aqua were well represented among the 2020 color trends. Take, for example, Pantone’s refreshing take on turquoise; Sherwin-Williams’ “Mint to Be” and “Restful” green; Benjamin Moore’s forest and jade; Behr’s earthy and coastal greens; and Crescent’s rich “Williamsburg Green.” Now for our takes on this spectrum:

Wood Frame Profile 792 in French Teal
Wood Frame Profile 792 in Mint Julep
Canvas Floater Frame F797 in the above shades
Metal Frame Nielsen Profile 117V in Turquoise or Cyber Green

Canvas Floater Frame F797 in Alabama Red

Warming it up.

Interestingly, two forecasters chose rosy pinks as their main “Color of the Year.” For Sherwin-Williams it’s the apricot-inspired “Romance,” while Benjamin Moore’s version is called “First Light.” The slightly darker “Bubble Shell” is among Behr’s top 15 trending colors in 2020. On the orange/brown spectrum, the color trend-setters have specified assorted shades of pumpkin, coral, brick and cinnamon. To all these, Frame Destination answers with:

Wood Frame Profile 792 in Petticoat Pink
Wood Frame Profile 792 in Bourbon Orange
Wood Frame Profile 792 in Alabama Red
Canvas Floater Frame F797 in the above shades

There’s a mat for that.

To give you more choices for creative combinations, Frame Destination offers over 250 different mat types and colors, so you’re sure to find a color to complement your every artistic endeavor. Included in this lineup is one of the largest online selections of Select 4Ply mat colors—72 and counting. We invite you to peruse this wide array of mat boards or the Crescent 4-Ply Mat Boards, including “Flag Blue,” a twin to Pantone’s 2020 pick, and pretty much every color under the sun.

Here’s just a few Crescent Select 4-Ply mat colors we offer that match the 2020 color trends:

Color us inspired.

Are you ready to seize this fresh new decade and color it your way? Of course you are! If we can be helpful on your journey into 2020 and beyond, just reach out — we’re here for you.

Source: https://www.framedestination.com/blog/resources/colors-of-2020-a-roundup-of-trends

Perez Art Museum PAMM

The Art and Culture Center/Hollywood presents contemporary gallery exhibitions, live stage performances, and award-winning education programs in the visual and performing arts at three unique facilities in downtown Hollywood. The Center’s mission is to cultivate creativity and the support of the arts in our community through education, innovation and collaboration.

The Art and Culture Center/Hollywood was founded in 1975 as the only visual arts non-profit organization in south Broward County, operating out of a small community space on Hollywood beach. The Center now manages visual arts galleries in the renovated Kagey Home built in 1924, an Arts School that is adjacent to the main facility, and a 500-seat theater in Hollywood’s burgeoning downtown. The Center is the third oldest arts non-profit in Broward County and is one of just nine cultural organizations – out of more than 350 such entities in Broward – to be designated a Major Cultural Institution by the Broward County Commission.

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Mission

The Art and Culture Center/Hollywood cultivates creativity and the support of the arts in our community through education, innovation, and collaboration.

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Core Values

‣ Creativity
‣ Education
‣ Innovation
‣ Collaboration

The Center is a regional leader among South Florida arts institutions in presenting originally curated visual-arts exhibitions by national and local artists, and standards-based, multi-disciplinary arts education programs for youth. The Center impacts nearly 50,000 people each year through its programs and venues. The Kagey Home is a cultural landmark for its contemporary exhibitions (New Art), and for the Mediterranean Revival architecture of its circa-1924 building (Old Building). Contemporary artists exhibit in four ground-floor gallery spaces while the upstairs Community Gallery presents exhibitions by K-12 students who study under some of the most dedicated arts teachers in the region.

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Arts instruction for youth links all curricula to other core subjects, such as math, science, literacy, and cultural studies. This shows students, from pre-K to high school, how the visual and performing arts may inform all facets of learning. Programs include Summer Arts Camp, the leadership development program Arts Aspire, Free Arts! Family Days, the Distance Learning Arts Studio, Stage Kids – Encore, ARTastic Collaborations, and Early Voices. In 2016, the Center received an ArtsEd Forever! award from the Broward Cultural Division for Exceptional Service & Outstanding Contributions to Arts Education in Broward County.

In March 2019, the Center was designated for $2.5 million in funds from the City of Hollywood towards its Arts Ignite! building initiative, as part of a General Obligation Bond referendum that was approved by Hollywood voters. These funds will be allocated toward the expansion of Center facilities over two phases, with construction scheduled to begin in 2021 on a new Arts Education building that will adjoin the Kagey Home.

Through its programs and facilities, the Center fosters a creative environment where new and challenging work can flourish through exhibitions and art-making activities that reflect the highest standards of artistry and diversity. 

Mission

The Art and Culture Center/Hollywood cultivates creativity and the support of the arts in our community through education, innovation, and collaboration.

Core Values

‣ Creativity
‣ Education
‣ Innovation
‣ Collaboration

BOARD OF TRUSTEES

Executive Committee

John Mabry, Chair

Oscar Llorente, Vice Chair

Ben Wesley, Secretary/Chair-Elect

Tim Curtin, Treasurer

Kevin Markow, ESQ, Legal Counsel

Randy Gilbert, At Large

Misty Weinger, CPA, CFF, CVA,

   Immediate Past Chair

Trustees

Tanya Davis

Barbara Goldberg

Patricia Schnall Gutierrez

Elena Hershey

Hon. Jordan Leonard

Shelly Loos

Kara Lundgren

Barbara Marks

David Maurer

Josh McCumber

Laurie Schecter

Henny Shomar, ESQ

Chad Simon

Anna Smith

Honorary Trustees

Bonnie Barnett
Steven R. Becker, Esq.
Hon. Joseph S. Geller, Esq.
Neil Gold
Francie Bishop Good
Michael Goodman
Hon. Sue Gunzburger
David Horvitz
Carmen Hotchkiss
Jarett Levan
Susan Renneisen
Wilma Siegel, MD
Drazia Simon
Hon. Eleanor Sobel

Executive Director

Joy A. Satterlee, APR

Leo Sarmiento
Communications and Partnerships Director
954.921.3274 ×235

The Art and Culture Center presents contemporary gallery exhibitions, live stage performances and high-quality education programs for adults and children. The Center fosters a creative environment where new and challenging work can flourish through programs that reflect the highest standards of artistry and diversity.

Perez Art Museum PAMM

Written by Mark Rogers

There’s nothing quite like a beautiful piece of art or a precious photograph. But caring for and displaying these priceless keepsakes can be a challenge. The right picture frame can protect and accentuate its contents, making sure that your picture(s) and/or artwork gets the recognition it deserves.

Yet, with all of the options available to us, buying picture frames online can be a daunting task. This guide will walk you through the top seven considerations when buying picture frames online, ensuring you’ll find the perfect match for your photograph or art at a great value.

Let’s dive in…

1. What are you Framing?

This simple question is often the best place to start your journey. Are you framing something precious or irreplaceable?  If so, it’s important to choose a quality frame that will help to preserve the art or photograph for years to come. Cheap store-bought frames can work as a temporary solution for those less important items (such as low-cost digital prints that can be cut to size), but if you’re framing something with sentimental or real value, it’s worth choosing a high quality custom framing option.

Another aspect to consider is the thickness of the item you’re framing. Is it a flat piece of art, or are you framing something thicker like a canvas or a sports jersey? Thicker items are often better suited for a canvas floater frame or shadow box frame that fits the dimensions of your item.

If you are framing a canvas and need to know which specific frames fit your sized canvas, you can find a list of options in this article on how to frame canvas prints. For something unique such as metal prints either with or without a hanging block, use this step-by-step guide to explore your options. 

2. What Style of Frame Will Best Suit your Picture?

It’s important to pick a style of frame that will suit both the picture that sits inside it, and the space that it will be displayed in. Pay close attention to the colors and detail. For example, look at the colors that feature in the artwork and choose a frame with a palate that complements or highlights the imagery.

The majority of quality frames will be made from wood or metal. Wooden frames are more traditional in appearance, and can add an elegant flair to your work. That said, solid wood frames can be quite heavy, so make sure your wall and hooks are strong enough to support them if you choose this option.

Metal frames, on the other hand, are mostly made from aluminum. This makes them both durable and lightweight, while giving off a more modern and minimalistic aura. Both wooden and metal frames come in a wide variety of designs and colors that make it easy to find the perfect style.

3. What Size is It?

Size might not always matter, but when it comes to buying picture frames online it certainly plays a role. It’s important that you accurately measure the minimum and maximum dimensions of your item so that your framer can accommodate the piece, or so that you select a pre-made frame that best suits your needs.

In cases where you may be looking to frame small pieces of art or photos, you may find that they are difficult to frame by themselves. However, adding matting is a great way to circumvent this issue as well as add depth, character and a striking appeal to the piece. If you do choose to add a mat board, we recommend allowing a quarter of an inch overlap for your artwork or photo. This will prevent exposure to the backing or fall out of the matting.

Discover other tips on measuring for a matted frame here.

Another thing to ponder is the orientation of your art; will it be displayed in a landscape or portrait layout? Once you’ve decided this, you can get down to the important task of measuring. Start by measuring the height and the width of your artwork, making sure not to mix up units of measurement. If you’re framing a thicker item, you’ll need to measure the depth too.

4. What Type of Cover or Glazing is Best: Glass or Acrylic?

The glazing is the piece of the frame which “covers” your art or photo yet allows you to see what’s in your frame. It’s important to choose the right material so that it will protect and show off your artwork well into the future.

Covers are usually made from either glass or acrylic. Glass is the more traditional option. It can provide an excellent clear finish and protects your artwork well, but it’s prone to breaking easily, so it needs to be handled and packaged with care.

Acrylic, on the other hand, is similar in appearance to glass, yet is lightweight, highly durable, and less prone to shattering.

The final consideration is the “finish” of your cover. There are two more common options, either a clear finish, which is, as the name suggests, a crystal-clear surface for your artwork, or a non-glare finish, which gently diffuses any extreme glare from lights and softens the color of your artwork slightly.

In addition, you may choose an anti-reflective finish which is a coating that eliminates glare well without the drawback of non-glare finishes. For glass, the water white treatment reduces the iron content of the glass so the glass does not have a green tint.

5. Which Backing is Best?

Even though the backing of your framed art or photograph normally won’t be on display, it’s still an important component of the framing process.

There are generally three types of backing to choose from:

• Foam Board
• Cardboard
• Acrylic or Glass

Foam Board, (also known as foamcore, Gatorfoam®, or mount board), is the safest and most commonly used type of backing. It is popular because it is lightweight and easy to cut and manipulate to fit virtually any size of frame. Foam Board is also sold in acid-free varieties, which is important in protecting your artwork against corrosion.

Cardboard is lightweight and strong, but some types of cardboard can be highly acidic. If you’re framing a precious piece of art or a priceless photograph, then you may want to avoid frames with cardboard backing altogether.

Acrylic or glass is also sometimes used, although this tends to be in double-sided frames where the front and back can be interchangeable, and when you are “floating” a piece of art and want the wall behind it visible. Please note,  in certain environmental conditions, this method could result in the art sticking to the glass over time so use it with non-priceless art only.

6. Where to Buy Your Picture Frame Online

Some people choose to buy their picture frames from local framers in their area. This option is a great one when it works, but it can also often be costly, time-consuming and inconvenient. Especially if your local shop is not close to you or back logged with other orders.

Buying picture frames online can be a more affordable and more convenient option, while opening up the possibilities with a virtually endless selection of styles to choose from.

For example, at FrameDestination.com, you can find all the services you would at your local framing store, such as custom measurements of your frame and mat board, as well as a large variety of materials and styles to choose from. Plus they offer multiple styles of picture frame glass unlike many other online retailers.

7. How to Hang your Picture

Now that you have your beautifully framed artwork or photograph, it’s time to hang it. Make sure to use strong and durable hardware that won’t accidentally slip or fail over time. Frame Destination offers free professional grade hanging hardware complete with wall bumpers with any complete picture frame kit.

It’s also a good idea to get someone to help you when choosing where to place your picture, to make sure it’s straight and in line with any other items on your walls. You can also use a hanging tool like this one.

Ready to Find the Perfect Frame for your Picture?

Buying picture frames online has never been easier. If you keep these 7 considerations in mind when purchasing your next frame, the process should be quick, easy and hassle-free, giving you beautiful results that will last for years to come.

Source: https://www.framedestination.com/blog/picture-frames/7-things-to-know-buying-picture-frames-online

Glass and Acrylic for Picture Frames

Frame glazing covers and protects artwork from damaging factors.

• Heat, Moisture and Pollutants Resistant
• Optically Pure Acrylic Available
• Scratch-Resistant Glass Available
• Precut Plexiglass and Acrylic
• Non-glare, UV Glass and Plexiglass
• Custom Sizes Available

Perez Art Museum PAMM