Passepartout (frame)
In art, a passe-partout ([ paspaʁˈtuː ], French passer , “go through” and partout “everywhere”) describes a paper or cardboard frame for graphics , photos and paintings .
Passepartouts are used on the one hand to direct the viewer on the work of art by distracting from the picture frame , on the other hand it is also possible to fit a work of art into a frame whose dimensions exceed the dimensions of the work of art.
Another task of the passepartout is to protect the work of art from vapors from the frame wood. The passe-partout binds the pollutants and they do not reach the work of art or in a lower concentration . In addition, the passepartout, which is usually made of strong cardboard, creates a gap between the glazing of the frame and the work of art. This is also advantageous for graphics that are kept unframed in folders or boxes , as the passe-partout prevents the overlapping sheets of paper from rubbing against each other.
A good passe-partout is made of acid-free material. In addition, it can be buffered with calcium carbonate so that acids from the air are bound as well as possible. In some cases, such as B. for cyanotypes , calcium carbonate must not be used, as this attacks the work of art itself instead of protecting it.
history
Graphics and drawings are generally placed on paper in frames made of cardboard , i.e. passepartouts. Forerunners and models for today's passepartout were graphic mounts in their various forms since the 16th century. In the beginning, people were only hesitant about framing graphics with ink lines and thus increasing their value. Using glass for framing was initially unusual. The graphic / drawing was cut on the edge and glued on. They were kept exclusively in folders and drawers. When glass was finally used to protect the valuable graphics, there were decorative elements on the back of the glass, and later on a cardboard frame, the passe-partout. In the 17th century, more color came into play and at the end of the 18th century, borders and golden stripes were very much in fashion - all these design elements that can be found in the design of the French passe-partouts of the 19th century ( French passe-partouts ). Today you can only find very few original models, as many passe-partouts were burned in the two world wars. After the world wars, a general simplicity prevailed - passe-partouts were rarely decorated by hand.
today
Lately, passe-partouts have been integrated more into the creative concept of framing (as was the case with hand-decorated passe-partouts). This means that the passe-partout is not just a white or light cardboard box with a rectangular opening, but on the one hand can be colored - ideally matched to the picture and the frame - on the other hand, of course, other cut-out shapes are also possible. This is particularly due to the use of modern computer-controlled passepartout cutting plotters ( CMC ). Such precision devices can not only cut the opening at an angle (usually 45 °) and perfectly in the miter , but are also not limited to straight lines and circles. It is also possible to cut shapes with corner decorations, several layers of cardboard of different sizes (depth effect) or even notch cuts (V-grooves) on the surface of the cardboard. The possibilities are almost unlimited.
Nevertheless, hand-decorating is not completely forgotten, although only a few framers or bookbinders have mastered and practiced this old and versatile craft. Especially for older graphics, drawings and watercolors it is still indispensable and cannot be imitated with computer technology.
Special forms
literature
- Ryszard Moroz, Stephan Brunnert (Red.): The museum passepartout. A working aid for museum practice (= materials from the LWL Museum Office for Westphalia. Vol. 11). LWL Museum Office for Westphalia, Münster 2016, ISBN 978-3-927204-84-3 .
