FIXED ENGRAVING UNDER GLASS XIXTH ILLUMINATION ON THE PERIMETER ATALA AND CHACTAS C2362This engraving is from the beginning of the XIXth century. It is a fixed under glass, with an illumination work around the edge, everything was done by hand. We find in golden letters, at the bottom of the engraving: Atala and Chactas surprised by the storm. This is an allegory in the Antique. The frame is in gilded plaster also from the very beginning of the 19th century. You will notice friction and wear on the glass. Several gaps on the edge, the engraving has remained fresh. Everything is natural. For the state thank you for detailing the photos. This article is taken from the book Larousse Dictionary of painting. Painting under glass, or fixed under glass, consists of carrying out the painting work on the back of a glass plate. One of the difficulties of the process is to paint the motif inverted 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 the finished work on the unpainted side of the glass plate. The craftsman uses oil colors or gouache mixed with a special glue. The technique that uses gold or silver sheets welded between two layers of glass is called églomisé glass. Widely practiced in Europe, from Spain to Poland, and as far as Asia, painting under glass is linked to the glass industry and its distribution. If the origin goes back to the first times of Christianity on the margins of stained glass, its real starting point is in Murano, in the lagoon of Venice, a great center of the art of glass, and its production, important from the second half of the XV Ies., developed throughout the 17th century. Two groups of paintings are attributed to the Venetian workshops: one with a deep blue sky and figures in the foreground against a background of Lombard landscapes, the other using fine hatching patterns that evoke the technique of engraving. The religious subjects and taken from the New Testament are inspired by Venetian or Lombard works, then by the school of Caravaggio; although produced in series and intended for a popular clientele, these skilful paintings, with a subtle palette enhanced with gold and skilful drawing, reflect the spirit of the models they copy. Decorative elements of religious and mythological inspiration, intended to adorn the drawers and the doors of the cabinets, are manufactured in parallel. From the 14th-15th centuries, glassmakers from Murano emigrated 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. These 17th and 18th century paintings may come from workshops in Paris or close to the capital. and these precious boxes adorned with fixed under glass whose neat craftsmanship, refinement and themes draw their sources 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 Provençal workshops (the Cantini museum in Marseilles has an important collection). In fact, the history of this trend of painting under glass, very clearly inspired by large painting, still remains to be written. We only know that it was also practiced in England, Spain and China, imported by Westerners. Of an entirely different character are the sets under glass from Central Europe, souvenirs and ex-votos that the workers of the glass factories of northern Bohemia produced in series, to supplement their wages, for the intention of the pilgrims who went to the sanctuaries. famous in Austria, Moravia, and Poland. Coming from Italy via Tyrol and Bavaria c. 1770, the technique remained flourishing there until c. 1880. Unlike Italian paintings under glass, Central European paintings are inspired by old images of pilgrimages, reproducing familiar and local saints, popular heroes, traditional dances. It is a regional, folkloric art, seducing by its popular charm and the vivacity of its colors, and which is established in Alsace in the second half of the 18th century. To religious subjects are added profane subjects: portraits of illustrious characters, allegories. Less brightly colored than in Alsace, the ex-votos under glass from the sanctuary of Notre-Dame de Laghet, near Nice, seem to come from a local workshop. The 20th c. practiced little painting under glass. An exception, however, among the painters of Blaue Reiter, who, experimenting before 1914 with artisanal techniques, tried their hand at this kind of painting, no doubt attracted by the brilliance conferred on the colors by the glass plate: Jawlensky, Macke, Gabriele Münter , especially Kandinsky, in this experimental phase of his work which precedes the discovery of Abstraction, and Campendonck. In Belgium, Floris Jespers executed quite a number of paintings under glass and, in France, Marcoussis, after the war. The 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 P: 1055994 I remain at your disposal for any questions.