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"Forger" redirects here. For the Soviet aircraft, see Yakovlev Yak-38. For novels and films, see The Forger (disambiguation). For the process of shaping metal by localized compressive forces, see Forging. For other uses, see Forgery (disambiguation). Forgery is the process of making, adapting, or imitating objects, statistics, or documents with the intent to deceive for the sake of altering the public perception, or to earn profit by selling the forged item.
Copies, studio replicas, and reproductions are not considered forgeries, though they may later become forgeries through knowing and willful misrepresentations. Forging money or currency is more often called counterfeiting. But consumer goods may also be counterfeits if they are not manufactured or produced by the designated manufacturer or producer given on the label or flagged by the trademark symbol.
When the object forged is a record or document it is often called a false document. This usage of "forgery" does not derive from metalwork done at a forge, but it has a parallel history. A sense of "to counterfeit" is already in the Anglo-French verb forger, meaning "falsify". A forgery is essentially concerned with a produced or altered object. Where the prime concern of a forgery is less focused on the object itself – what it is worth or what it "proves" – than on a tacit statement of criticism that is revealed by the reactions the object provokes in others, then the larger process is a hoax.
In a hoax, a rumor or a genuine object planted in a concocted situation, may substitute for a forged physical object. The similar crime of fraud is the crime of deceiving another, including through the use of objects obtained through forgery. Forgery is one of the techniques of fraud, including identity theft. Forgery is one of the threats addressed by security engineering. In the 16th century, imitators of Albrecht Dürer's style of printmaking improved the market for their own prints by signing them "AD", making them forgeries.
In the 20th century the art market made forgeries highly profitable. There are widespread forgeries of especially valued artists, such as drawings originally by Pablo Picasso, Paul Klee, and Henri Matisse. A special case of double forgery is the forging of Vermeer's paintings by Han van Meegeren, and in its turn the forging of Van Meegeren's work by his son Jacques van Meegeren. Criminal law England and Wales and Northern Ireland In England and Wales and Northern Ireland, forgery is an offence under section 1 of the Forgery and Counterfeiting Act 1981, which provides: A person is guilty of forgery if he makes a false instrument, with the intention that he or another shall use it to induce somebody to accept it as genuine, and by reason of so accepting it to do or not to do some act to his own or any other person’s prejudice.
 "Instrument" is defined by section 8, "makes" and "false" by section 9, and "induce" and "prejudice" by section 10. Forgery is triable either way. A person guilty of forgery is liable, on conviction on indictment, to imprisonment for a term not exceeding ten years, or, on summary conviction, to imprisonment for a term not exceeding six months, or to a fine not exceeding the statutory maximum, or to both.
 For offences akin to forgery, see English criminal law#Forgery, personation, and cheating. The common law offence of forgery is abolished for all purposes not relating to offences committed before the commencement of the Forgery and Counterfeiting Act 1981. Scotland Forgery is not an official offence under the law of Scotland, except in cases where statute provides otherwise. The Forgery of Foreign Bills Act 1803 was repealed in 2013.
Republic of Ireland In the Republic of Ireland, forgery is an offence under section 25(1) of the Criminal Justice (Theft and Fraud Offences) Act, 2001 which provides: A person is guilty of forgery if he or she makes a false instrument with the intention that it shall be used to induce another person to accept it as genuine and, by reason of so accepting it, to do some act, or to make some omission, to the prejudice of that person or any other person.
 A person guilty of forgery is liable, on conviction on indictment, to imprisonment for a term not exceeding ten years, or to a fine, or to both. Any offence at common law of forgery is abolished. The abolition of a common law offence of forgery does not affect proceedings for any such offence committed before its abolition. Except as regards offences committed before the commencement of the Criminal Justice (Theft and Fraud Offences) Act, 2001 and except where the context otherwise requires, without prejudice to section 65(4)(a) of that Act, references to forgery must be construed in accordance with the provisions of that Act.
 Canada Forgery is an offence under sections 366, 367 and 368 of the Canadian Criminal Code. The offence is a hybrid offence, subject to a maximum prison sentence of: if tried summarily: 6 months if tried on indictment: 10 years United States Forgery is a crime in all jurisdictions within the United States, including state and federal. Most states, including California, describe forgery as occurring when a person alters a written document "with the intent to defraud, knowing that he or she has no authority to do so.
"  The written document usually has to be an instrument of legal significance. Punishments for forgery vary widely. In California, forgery for an amount under $950 can result in misdemeanor charges and no jail time, while a forgery involving a loss of over $500,000 can result in three years in prison for the forgery plus a five-year "conduct enhancement" for the amount of the loss, yielding eight years in prison.
 In Connecticut, forgery in the Third Degree, which is a class B misdemeanor is punishable by up to 6 months in jail, a $1000 fine, and probation; forgery in the First Degree, which is a class C felony, is punishable by a maximum 10 years in prison, a fine of up to $10,000 fine, or both. Civil law As to the effect, in the United Kingdom, of a forged signature on a bill of exchange, see section 24 of the Bills of Exchange Act 1882.
Documentary art Before the invention of photography, people commonly hired painters and engravers to "re-create" an event or a scene. Artists had to imagine what to illustrate based on the information available to them about the subject. Some artists added elements to make the scene more exotic, while others removed elements out of modesty. In the 18th century, for example, Europeans were curious about what North America looked like and were ready to pay to see illustrations depicting this faraway place.
Some of these artists produced prints depicting North America, despite many having never left Europe. In popular culture The 1839 novel by Honoré de Balzac, Pierre Grassou, concerns an artist who lives off forgeries. The Orson Welles documentary F for Fake concerns both art and literary forgery. For the movie, Welles intercut footage of Elmyr de Hory, an art forger, and Clifford Irving, who wrote an "authorized" autobiography of Howard Hughes that had been revealed to be a hoax.
While forgery is the ostensible subject of the film, it also concerns art, film making, storytelling and the creative process. The 1966 heist comedy film How to Steal a Million centers around Nicole Bonnet (Audrey Hepburn) attempting to steal a fake Cellini made by her grandfather. The 1972 novel by Irving Wallace, The Word concerns archaeological forgery, the finding and translation of a supposed lost gospel by James the Just, close relative of Jesus Christ, as part of a large project to be published as a new Bible that would inspire a Christian revival, but which is possibly a forged document.
 The 2002 film Catch Me If You Can, directed by Steven Spielberg, is based on the real story of Frank Abagnale, a con man who stole over $2.5 million through forgery, imposture and other frauds, which are dramatized in the film. His career in crime lasted six years from 1963 to 1969. The graphic art novel The Last Coiner, authored by Peter M. Kershaw, is based on the exploits of the 18th century counterfeiters, the Cragg Vale Coiners, who were sentenced to execution by hanging at Tyburn.
 See also Main article: Outline of forgery Authentication Counterfeiting coins currency drugs watches postage stamps Epigraphy False document Phishing Questioned document examination Replica Signature forgery United States Secret Service White-collar crime Art forgery Digital signature forgery J. S. G. Boggs American artist, best known for his hand-drawn depictions of banknotes References and sources References ^ Legislation.
gov.uk. Digitised copy of section 1. ^ The Forgery and Counterfeiting Act 1981, sections 6(1) to (3)(a) ^ The Forgery and Counterfeiting Act 1981, section 13 ^ W J Stewart and Robert Burgess. Collins Dictionary of Law. HarperCollins Publishers. 1996. ISBN 0 00 470009 0. Pages 176 and 398. ^ Stair Memorial Encyclopaedia ^ Irish Statute Book. Digitised copy of section 25. ^ The Criminal Justice (Theft and Fraud Offences) Act, 2001, section 25(2) ^ The Criminal Justice (Theft and Fraud Offences) Act, 2001, sections 3(2) and (3) ^ The Criminal Justice (Theft and Fraud Offences) Act, 2001, section 65(4)(b) ^ "California Legislative Information, Penal Code section 470".
Retrieved 20 July 2017. ^ Brady, Katherine (November 2014). "California Prop 47 and SB 1310: Representing Immigrants" (PDF). Immigrant Legal Resource Center1. Retrieved 1 August 2017. ^ Couzens, J. Richard; Bigelow, Tricia A. (May 2017). "Felony Sentencing After Realignment" (PDF). California Courts. Retrieved 1 August 2017. ^ "Chapter 952 - Penal Code: Offenses". www.cga.ct.gov. Retrieved 2017-08-09.
^ "Chapter 952 - Penal Code: Offenses". www.cga.ct.gov. Retrieved 2017-08-09. ^ Norman-Eady, Sandra; Coppolo, George; Reinhart, Christopher (1 December 2006). "Crimes and Their Maximum Penalties". Office of Legislative Research. Connecticut General Assembly. Retrieved 9 August 2017. ^ Yeazell, Ruth Bernard (2008). Art of the Everyday: Dutch Painting and the Realist Novel. Princeton University Press.
p. 88. ISBN 0691127263. ^ McBride, Joseph (2006). What Ever Happened to Orson Welles?: A Portrait of an Independent Career. University Press of Kentucky. pp. 245–250. ISBN 0813124107. ^ Casper, Drew (2011). Hollywood Film 1963-1976: Years of Revolution and Reaction. John Wiley & Sons. p. 1972. ISBN 1405188278. ^ Cawelti, John G. (1977). Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture.
University of Chicago Press. p. 281. ISBN 0226098672. ^ Wight, Douglas (2012). "Owning December". Leonardo DiCaprio: The Biography. John Blake Publishing Ltd. ISBN 1857829573. ^ "Telling the Coiners' story". BBC North Yorkshire. 3 June 2008. Sources Cohon, Robert. Discovery & Deceit: archaeology & the forger's craft Kansas: Nelson-Atkins Museum, 1996 Muscarella, Oscar. The Lie Became Great: the forgery of Ancient Near Eastern cultures, 2000 "Imaginary Images" in Detecting the Truth: Fakes, Forgeries and Trickery at Library and Archives Canada External links Wikimedia Commons has media related to Forgery.
Look up forgery in Wiktionary, the free dictionary. Bibliographies of archaeological forgeries, art forgeries etc Museum security mnetwork: sources of information on art forgery; with encyclopedic links Fakes and Forgeries on the Trafficking Culture website, University of Glasgow Academic Classification of Levels of Forgery on The Authentication in Art Foundation Website List of Caught Art Forgers on The Authentication in Art Foundation Website v t e English criminal law Classes of crimes Common law Indictable Either way Summary Regulatory Lesser included Elements of crimes Actus reus Causation Mens rea Intention (criminal law) Intention in English law Recklessness Criminal negligence Corporate / Vicarious / Strict liability Omissions Concurrence Ignorantia juris non excusat Inchoate offences Encouraging or assisting crime Conspiracy Accessory Attempt Common purpose Defences Self-defence Duress Necessity Marital coercion Consent Medical procedure Prevention of crime Participation in a sporting event Lawful excuse Insanity Diminished responsibility Intoxication Category:Criminal defences Offences against the person Homicide (Murder / Manslaughter / Corporate manslaughter / Infanticide) Manslaughter in English law Unlawful killing Mayhem Concealing birth Child destruction Wounding or causing grievous bodily harm Assault occasioning actual bodily harm Common assault Attempting to choke, &c.
in order to commit any indictable offence Assault with intent to rob Robbery Assault with intent to rape Assault with intent to commit felony, or on peace officers Assault with intent to resist lawful apprehension Buggery Battery Kidnapping Child abduction False imprisonment Harassment Offences against the Person Act 1861 Sexual offences Rape Sexual assault Sexual Offences Act 2003 Public order offences Riot Violent disorder Affray Unlawful assembly Fear or provocation of violence Intentional harassment, alarm or distress Harassment, alarm or distress Public Order Act 1986 Incitement to ethnic or racial hatred Challenging to a fight Nuisance Causing Public nuisance Outraging public decency Effecting a public mischief Keeping a Disorderly house Preventing the lawful burial of a body Breach of the Peace Treason High treason Common scold Nightwalker statute Rout Forcible entry Accessory (legal term) Misconduct in a public office Malfeasance in public office Abuse of authority Perjury of oath Dereliction of duty Offences against property Arson Dishonesty Cheating (law) Burglary Robbery Theft Larceny Criminal damage Squatting Trespass Taken Without Owner's Consent (TWOC) Deception Handling stolen goods Misappropriation of funds Blackmail Extortion Cybercrime Theft Act 1968 Theft Act 1978 Fraud Act 2006 Fraud by abuse of position Conspiracy to defraud Fare evasion Webcam blackmail Forgery, personation and cheating Forgery Cheating the public revenue Uttering Offences against justice Bribery Perjury Offences Akin to Perjury Perverting the course of justice Misrepresentation as to identity Embracery Witness intimidation Witness tampering Harming People who have Assisted the Police / Given Evidence / Been a Juror Misprison of treason Misprision of felony Compounding a felony Jury tampering Assault with intent to resist lawful apprehension Assisting an offender Harboring a fugitive Encouraging or assisting a crime Escape from lawful custody Obstructing justice Obstruction of a police officer Wasting police time Refusing to assist a constable Sedition Espionage Contempt of the sovereign Contempt of court Fabrication of false evidence Breach of prison / breaking prison Rescuing a prisoner Other common law areas Contract Tort Property Wills Trusts and estates Evidence Criminal procedure History Law of England and Wales portal Criminal Justice portal v t e Media manipulation Context Bias Crowd psychology Deception Dumbing down False balance Half-truths Machiavellianism Media Obfuscation Orwellian Persuasion Psychological manipulation Activism Alternative media Boycott Civil disobedience Culture jamming Demonstrations Guerrilla communication Hacktivism Internet Media Occupations Petitions Protests Youth Advertising Billboards False Infomercials Mobiles Modeling Radio Sex Slogans Testimonials TV Criticism of advertising Censorship Regulation Books Broadcast law Burying of scholars Corporate Cover-ups Euphemism Films Historical negationism Internet Political Religious Self Hoaxing Alternative facts April Fools' Fake news website Fakelore Fictitious entries Forgery Gaslighting List Literary Racial Urban legend Virus Marketing Branding Loyalty Product Product placement Publicity Research Word of mouth News media Agenda-setting Broadcasting Circus Cycle False balance Infotainment Managing Narcotizing dysfunction Newspeak Pseudo-event Scrum Sensationalism Tabloid journalism Political campaigning Advertising Astroturfing Attack ad Canvassing Character assassination Charm offensive Dog-whistle politics Election promises Lawn signs Manifestos Name recognition Negative Push polling Smear campaign Wedge issue Propaganda Bandwagon Crowd manipulation Disinformation Fearmongering Framing Indoctrination Loaded language Lying press National mythology Techniques Psychological warfare Airborne leaflets False flag Fifth column Information (IT) Lawfare Political Public diplomacy Sedition Subversion Public relations Cult of personality Doublespeak Non-apology apology Reputation management Slogans Sound bites Spin Transfer Understatement Weasel words Sales Cold calling Door-to-door Pricing Product demonstrations Promotion Promotional merchandise Telemarketing v t e Types of fraud Business-related Billing Cramming Disability Drug / Pharmaceutical Email Employment Fixing Impersonation Intellectual property Internet Job Long firm Odometer Phone Quackery / Health care Racketeering Return Tech support Slamming Telemarketing Family-related Marriage Paternity Financial-related Advance-fee (Lottery scam) Bank Bankruptcy Chargeback Cheque Credit card Forex Insurance Mortgage Securities Shill bidding Tax Government-related Benefit Electoral Medicare Visa Welfare Other types Affinity fraud Charity Confidence trick Counterfeiting Faked death Forgery Hoax Impersonation Mail and wire (honest services) Scientific Spyware White-collar crime Retrieved from "https://en.
Distinctive Essential Artwork Concepts have advanced extensive distinctive eras, while using the transforming artists' perceptions of processing, analyzing, and responding to varied art forms. Their artistic expressions are actually explored by their development, efficiency, and participation in arts. Just about every historical era has supplied novel contribution of historic and cultural contexts for producing the crucial element Arts Fundamentals with the pertinent period of time. Visual Arts support artists assimilate the main element Arts Ideas of Symmetry, Colour, Sample, Distinction along with the dissimilarities concerning 1 or maybe more elements in the composition. The main element Artwork Concepts of Visible Arts help fully grasp and distinguish between the dimensions which include, Symmetry & Asymmetry, Positive & Negative Space, Light & Dark, Solid & Transparent, and Large & Small.See Also: Art Nouveau Bronze Figurines
Art plays a vibrant role in the personal life from the individual as well as within the social and economic development on the nation. The study of Visual arts encourages personal development and also the awareness of both our cultural heritage and also the role of artwork within the society. The learner acquires personal knowledge, skills and competencies through activities in Visible arts. When one studies Visible arts, he/she would come to appreciate or recognize that artwork is an integral part of everyday life.
Enamelwork, technique of decoration whereby metal objects or surfaces are given a vitreous glaze that is fused onto the surface by intense heat to create a brilliantly coloured decorative effect. It is an art form noted for its brilliant, glossy surface, which is hard and long-lasting. Samson killing PhilistinesStanding dish depicting Samson crushing the Philistines with the jawbone of an ass, enamel on copper by Pierre Courteys, c.
1580; in the Taft Museum of Art, Cincinnati, Ohio. Height 9.8 cm, diameter 22.9 cm.Photograph by Jenny O'Donnell. Taft Museum of Art, Cincinnati, Ohio, Taft collection 1931.299 Enamels have long been used to decorate the surface of metal objects, perhaps originally as a substitute for the more costly process of inlaying with precious or semiprecious stones but later as a decorative medium in their own right.
Whereas paint on metal has a short life and, even when new, is overshadowed by the brilliance of the polished metal, enamelling gives the surface of metal a durable, coloured, decorative finish. With the painted enamels of the Renaissance and the portrait miniatures of the 17th century, the technique reached its most ambitious and artistic form, in which the craftsman attempted to create a version of an oil painting, using a metal sheet instead of a canvas and enamels instead of oil paints.
This medium undoubtedly has its limitations—few painted-enamel plaques of the Renaissance, for example, are much more than one foot square—but while oil paints on canvas eventually fade and darken, the colours of enamels are permanent. Relatively few creative artists of distinction have chosen to work in this medium, however, and it has tended to be purely decorative. Few types of metal objects have not, at some period, been enriched with enamelled decoration.
Throughout history, jewelry has been made more colourful by the application of enamels. Similarly, arms and armour, horse trappings, and even domestic items, such as mirrors and hanging bowls, were embellished with enamel decoration. Throughout the Middle Ages, both secular and ecclesiastical objects, such as chalices, cups, reliquaries, caskets, crosiers (a staff carried by bishops and abbots as a symbol of office), and spoons, were elaborately enamelled.
With the advent of painted enamels in the Renaissance, tableware was completely covered with enamel, and painted-enamel panels were used to decorate the ceilings and walls of rooms in the châteaus of France. Following upon the invention of the domestic table clock and of the watch in the 16th century, enamelling became one of the most popular forms of decoration for the dials and cases; by the 18th century, items of the drawing room, such as snuffboxes, etuis (cases for small articles like scissors and needles), tea caddies, candlesticks, scent bottles, and thimbles, were frequently made of enamel.
Among the objects decorated with enamels in East Asia are vases, incense vessels, teapots, suits of armour, and sliding doors. Materials and techniques Enamel is a comparatively soft glass, a compound of flint or sand, red lead, and soda or potash. These materials are melted together, producing an almost clear glass, with a slightly bluish or greenish tinge; this substance is known as flux or frit—or, in France, fondant.
The degree of hardness of the flux depends on the proportions of the components in the mix. Enamels are termed hard when the temperature required to fuse them is very high; the harder the enamel is, the better it will withstand atmospheric agencies, which in soft enamels first produce a decomposition of the surface and ultimately cause the breakup of the whole enamel. Soft enamels require less heat to fire them and consequently are more convenient to use, but they do not wear so well, especially if subjected to friction.
Clear flux is the base from which coloured enamels are made, the colouring agent being a metallic oxide, which is introduced into the flux when the latter is in a molten state. The brilliance of an enamel depends on the perfect combination of its components and on maintaining an equal temperature throughout its fusion in the crucible. The colour of many enamels is achieved by a change in the proportion of the components of the flux rather than by a change in quantity of the oxide.
For example, turquoise-blue enamel can be obtained from the black oxide of copper by using a comparatively high proportion of carbonate of soda; in the same way, a yellowish-green enamel can be obtained from the same black oxide by increasing the proportionate amount of red lead. Clear flux is also used to make opaque enamels; the addition of calx, a mixture of tin and lead calcined, renders translucent enamels opaque.
White enamel is produced by adding stannic and arsenious acids to the flux, the quantity of the acid affecting the density, or opacity, of the enamel. The heated enamel, after being thoroughly stirred, is usually poured out onto a slab and allowed to solidify into cakes of approximately four to five inches (10 to 13 centimetres) in diameter. For use, each cake must be pulverized into a fine powder with a pestle and mortar; the powder then has to be subjected to a series of washings in distilled water until all the floury particles are removed.
The metal, on which the powdered enamel is to be spread, is cleansed by immersion in acid and water. All trace of the acid is then removed by washing and by drying in warm oak sawdust. After the wet powder has been spread on the metal, it is allowed to dry in front of the furnace before it is carefully introduced into the muffle of the furnace (a compartment protected from the flame), where it is heated to the point at which it fuses and adheres to its metal base.
The firing of enamel takes only a few minutes, and the object is then withdrawn and allowed to cool. The various techniques practiced by craftsmen in the past differ mainly in the methods employed in preparing the metal to receive the powdered enamel. Cloisonné In the cloisonné technique, thin strips of metal are bent and curved to follow the outline of a decorative pattern; they are then attached, usually soldered, to the surface of the metal object, forming miniature walls that meet and create little cells between them.
Into these cells, the powdered enamel is laid and fused. After it has cooled, the surface can be polished to remove imperfections and to add to the brilliance. The cloisonné technique is particularly suited to objects made of gold, such as jewelry. This process is the opposite of the cloisonné technique: instead of building up on the surface of the metal object, the surface is gouged away, creating troughs and channels separated by thin ridges of metal that form the outline of the design.
The troughs are filled with powdered enamel and fused. The champlevé technique requires a thick metal base and therefore is used on copper and other base metals. This technique is a sophisticated extension of the champlevé method, for again the metal surface has to be cut away and filled with enamel, but here there are two major differences. First, within the area that has been cut away to receive the enamel, a design or figural composition is chased (chiselled), or sometimes engraved, in low relief.
Because the highest point of the relief is below the general surface of the surrounding metal, the enamel, which is level on its outer surface, lies in varying thicknesses over the modelled surfaces of the low relief. Second, because the coloured enamels used in this technique are translucent, the composition of the low relief shows through; and, since the metal used is normally gold or silver, the light is reflected back through the translucent enamelling, adding a brilliant tonal quality to the enamel, just as sunlight enhances the beauty of a stained-glass window.
The effect of the reflected light varies according to the thickness of the enamel lying over the undulating surfaces of the low relief; consequently, an impression of plasticity and of three-dimensional modelling is created by the subtle variations in tonal strengths of the enamel colours, which range from bright highlights to the rich tones of the deep recesses. The plique-à-jour technique is designed to produce an effect of a stained-glass window in miniature through the use of translucent enamels.
The technique is exactly the same as cloisonné enamelling except that the strips of metal forming the cells are only temporarily attached—not soldered—to a metal base to which the enamel will not stick. After the enamel is fused and sufficiently annealed, the metal sheet, usually aluminum-bronze, is removed with a few light taps, leaving a network of metal strips filled with enamel “windows.
” The enamels can be carefully polished to enhance their appearance. Encrusted enamelling is the term used to describe the technique of enamelling the irregular surfaces of objects or figures in the round or in very high relief. Both opaque and translucent enamels are applied to these small-scale sculptural objects, which are usually made of gold. The great technical problem is to devise methods of supporting and protecting these objects during the firing.
Frequently, plaster of paris is used to envelop parts of the object, leaving exposed only those parts on which enamel is to be applied and fused. Painted enamels This technique differs fundamentally from the preceding five in that the various coloured enamels are not separated from each other by metal strips or ridges. Although these enamels are still applied in their wet, powdered state, the adjacent patch of coloured enamel is first allowed to dry to avoid one running into the other and so blurring the outline between them.
The metal generally used in this technique is copper. It is cut with shears into a plate of the size required and slightly domed with a burnisher or hammer, after which it is cleaned with acid and water. The enamel is laid equally over the whole surface both back and front, and then the object is fired. The first coat of enamel being fixed, the design is delineated by drawing with a needle through a layer of wet white enamel or any other that is opaque and most advantageous for subsequent coloration.
In the case of grisaille enamels, the white is mixed with water, turpentine, spike oil of lavender, or essential oil of petroleum and painted over a dark enamel ground. Light areas of the design are painted thickly; gray areas, thinly to allow the dark ground to tone the white pigment. The technique creates a strong contrast between light and shade, creating an impression of low relief. The scenes in grisaille are sometimes rendered more subtly by hatching, executed with a pointed tool or needle to reveal the dark enamel beneath.
In coloured painted enamels, enamel colours are spread over the grisaille treatment; when fired, parts of the surface are heightened by touches of gold, usually painted in thin lines, like hatchings. Other parts can be made more brilliant by the use of foil, over which the transparent enamels are placed and then fired. History Ancient Western The origins of the art of enamelling are uncertain. While there is archaeological evidence that glass was being made from the 3rd millennium bce in western Asia and from the 15th century bce glass vessels were undoubtedly being made in Egypt, there is no proof that enamelling on metal was practiced in either Asia Minor or Egypt until after the time of Alexander the Great (died 323 bce).
Perhaps the origins of the art are to be found on Mycenaean metalwork of the 13th to 11th centuries bce. Six gold rings, excavated from a Mycenaean tomb of the 13th century bce at Kouklia (near Old Paphos), in Cyprus, are decorated with a cloisonné technique that suggests an intermediary stage between inlay and true enamelling. Scientific examination has shown that the different coloured enamels were not in the form of powder when they were inserted into the cloisons before being fired and fused together; rather they were in the form of fragments of coloured glass.
Unfortunately, no report exists of any scientific examination of a more accomplished example of Mycenaean enamelling—the decoration on the gold sceptre found in a royal tomb at Kourion Kaloriziki, in Cyprus—but it is generally believed that this is true enamelling and datable to the 11th century bce. If true enamelling existed in Mycenaean work, it would be reasonable to expect the technique to have been inherited by the Greeks and transmitted by them to the rest of Europe, perhaps by way of the colonies on the north shore of the Black Sea and in the south of Italy.
Unfortunately, however, there is a long gap between the Mycenaean enamels and the Greek gold jewelry of the 6th–3rd centuries bce, which is sparingly enamelled, often having no more than touches of blue and white enamel enclosed by thin gold wire openwork (filigree). Until recently the most ancient examples of enamelling outside Mycenaean art were said to be on ornaments discovered in a cemetery in the Kuban, close to the Caucasus, variously dated between the 9th and 7th centuries bce; but the most important of these Kuban enamels, the famous Maikop belt buckle (the Hermitage, Leningrad) depicting a griffin attacking a horse, is now regarded by Russian experts as a forgery.
Consequently, the earliest enamelling from south Russia may date from the 3rd or 2nd century bce. A slightly earlier date is given to a number of excavated bronze objects of western European origin, which are said to bear the remains of cloisonné enamel decoration. Until this early Celtic material has been scientifically examined and proved to be true enamel as distinct from inlaid coral, cut stone (chiefly lapis), or coloured glass applied cold, theories about it remain open to question.
At the present time it is a matter of conjecture what link, if any, may have existed between the enamellers in south Russia and those Celtic craftsmen who by the 3rd century bce, if not earlier, were using red enamel in place of coral inlay. During the Roman period, enamelling—both cloisonné and champlevé on bronze—was carried on almost entirely in those old Celtic areas that had become the northern provinces of the Roman Empire.
It may well be to these provincial works that a passage from the works of Philostratus, 2nd century ce, refers. The author, describing a boar hunt at which the riders appear with horse trappings ornamented in bright colours, writes: It is said that the barbarians in the ocean [i.e., the Celtic tribes] pour these colours into bronze moulds, that the colours become as hard as stone, preserving the designs.
This is a fair description of the process of champlevé enamel and suggests that the technique, in use in the British Isles, was not practiced at the time in Greece or Italy. Enamelled horse trappings such as Philostratus describes have been found in many places in the British Isles. This type of Celtic enamelling of the Roman period lived on in northwest Europe, particularly in Ireland, until as late as the 12th century.
Some of its more striking effects seem to be derived from Roman glassmaking practices, particularly its use of millefiori glass, a mosaic of very thin glass rods of different colours and shapes fused together and then cut into thin sections, which the Celtic craftsmen fused into a ground of coloured enamel. Medieval The most dramatic development in the history of enamelling took place in the Byzantine Empire between the 6th and 12th centuries, a period during which only the cloisonné technique—almost exclusively executed on gold—was in use.
At their zenith in the 10th–11th centuries, Byzantine enamellers created delicate, highly expressive miniature scenes in a great range of colours that shine like jewels. The masterpiece of this period is the altar screen “Pala d’Oro” in St. Mark’s, Venice, believed to have been brought from Constantinople to Venice about 1105. The quality of Byzantine enamelling began to decline in the late 12th century.
There is no direct evidence that enamelling on metal was practiced at any Islamic centre in western Asia. Scholars who argue that the technique of Byzantine gold-cloisonné enamelling originated in Syria before the 7th century ce can point to just one object on inconclusive stylistic considerations, associated with Umayyad Syria. Only one other enamelled object has survived with strong Islamic connections: a dish with an Arabic inscription referring to an Artuqid Prince, who reigned 1114–44.
The enamel technique is cloisonné, but with bronze wires soldered onto a copper base. As no other examples have been found and as the inscription in Arabic indicates an imperfect knowledge of the language, it may be the work of a Byzantine craftsman working in the Artuqid kingdom. Western European As early as the 7th century, according to some scholars, Byzantine work was being copied by Lombard craftsmen in northern Italy.
Later it was imitated in Sicily and other parts of Italy—even perhaps in England, where the famous Alfred Jewel, made to the order of the English king Alfred the Great in the 9th century, shows strong Byzantine influence. In the Ottonian period (936–1002), gold-cloisonné enamelling seems to have flourished in eastern France, and in the Rhineland, particularly among the goldsmiths working at Essen and in the workshops 937–993) at Trier.
In western Europe cloisonné enamelling was abandoned in the 12th century, in favour of the champlevé technique executed on a base metal such as copper or bronze. This revival may have taken place first in Spain, in the valleys of the Rhine and the Meuse, or in France at Limoges; but, by the middle of the century, expert craftsmen in these centres—and in England—had established it as one of the foremost mediums for artistic expression in the Romanesque style.
In the Mosan school, the famous 12th-century enamellers Godefroid de Claire at Liège and Nicholas of Verdun created champlevé enamelwork of unprecedented merit. The best work from Limoges was executed at the turn of the 12th–13th century; thereafter, the output was commercialized and standards fell steadily throughout the 13th and 14th centuries. In the late 13th century, gold and silver objects were again decorated with enamel but in a new technique, basse-taille enamelling.
The earliest surviving dated example was made in Italy in 1290. Throughout the following century, Italian goldsmiths, particularly from Siena and Florence, produced pictorial masterpieces in this medium. The technique was especially favoured in Spain and France. No more accomplished example has survived than the “Royal Gold Cup” (British Museum), commissioned by the brother of the French king Charles V about 1380.
The sides and the cover have scenes depicting the life and martyrdom of St. Agnes in the most glowing rich colours and elegant draftsmanship of the period. The great era of basse-taille enamelling ended with the Renaissance, though it remained popular in Spain and southern Germany, chiefly in Augsburg, to the middle of the 17th century. 15th century to the present: European Under the patronage of the courts of France and Burgundy in the late 14th and first half of the 15th centuries, goldsmiths devised new and more audacious methods of enamelling.
Using translucent coloured enamels, they created the effect of stained-glass windows in miniature by the technique known as plique-à-jour. One of the loveliest pieces is the silver-gilt Merode beaker of Flemish or Burgundian origin, probably c. 1430–40, decorated with two bands of enamels set in tiny windows with Gothic tracery (Victoria and Albert Museum, London). Employing another technique, encrusted enamelling, they created both large-scale, three-dimensional compositions and miniature work to be worn as jewelry.
Among the finest and earliest surviving examples is the Reliquary of the Holy Thorn (in the Waddesdon bequest in the British Museum): the Holy Thorn, set in a gem, is surrounded by the Last Judgment scene, in which all the figures (20) are enamelled, many of them being executed wholly in the round. The taste for this type of enamelled goldsmith work spread to all the courts of Europe; and, although the style changed several times, first from Gothic to Renaissance and then to Baroque, the essential extravagant toy-like quality remained.
Of all the Renaissance goldsmiths who helped to create an international style, however, only Benvenuto Cellini wrote (c. 1560) a technical treatise on the subject. Although the technique of painted enamels was probably first evolved by Flemish craftsmen about 1425–50 for the Burgundian court and perhaps developed by Venetian and north Italian enamellers between 1450 and 1500, the supremacy of the Limoges workshops was established by the beginning of the 16th century.
For the next 100 years, French Mannerist art found talented expression in this medium, and, enjoying court patronage, the best Limoges enamellers strove to compete with other artists in decorating the rooms of royal palaces. Painting in grisaille was finally introduced at Limoges by about 1530–40. A new dimension was given to painted enamelwork about 1620–30 by a French goldsmith, Jean I Toutin of Chateaudun, and some rival craftsmen in Blois.
Their achievement was to invent a highly skillful method for fine miniature painting in enamel colours on a white-enamel ground. Since the technique was admirably suited to the current enthusiasm for portrait miniatures, artists of distinction, such as Jean Petitot, were employed by Charles I of England and the French kings to work in this medium. With equal artistic skill, other French enamellers decorated items of jewelry, especially watchcases; and, by the second half of the 17th century, this craft had become centred on Geneva, where it continued to flourish into the 19th century.
In England, particularly in the Midlands, the Continental style of painted enamelled “toys” was copied and produced on a large scale, but the technique of transfer printing on enamel was invented in England and brought to perfection at the Battersea (London) factory during 1753–56. The design was applied to the white-enamel ground by transferring to paper, and then to the surface to be decorated, an impression from an engraved metal plate that had been brushed with enamel colours.
Throughout the 17th and 18th centuries, enamellers used the technique of fine miniature painting in enamels in Germany, Holland, England, and Russia in order to produce the “toys” of the fashionable world of society. The technique called en résille sur verre flourished for only about 40 years (c. 1600–40), and few examples have survived. Yet it required an exceptional degree of skill. The technique consists of cutting the design in a medallion of glass, usually coloured, lining the incisions with gold and filling them with variously coloured enamels.
The exponents of this kind of enamelling were mainly French. Although surviving examples are rare, there is a distinctive group of brass objects, mainly candlesticks and andirons, which have green, blue, or white opaque enamelling. These objects were made in 17th-century England (perhaps in Sussex). Most of the early enamelling techniques have continued to be used by goldsmiths in modern times—from the Parisian makers of gold snuffboxes in the 18th century to Carl Fabergé at the beginning of the 20th.
Art Nouveau jewellers, such as René Lalique, and modern artists, such as Georges Braque, Georges Rouault, and Gerda Flockinger, have kept alive the craft of enamelling and added to the multiplicity of its ingenious effects. Hugh Tait Enamels do not appear to have reached China until long after they were found throughout Europe. All authorities are agreed as to the Western origin of the art, which in all probability was introduced into China by traders or by travelling craftsmen.
Although by the 5th century ce the Chinese were informed as to the production of glass—an essential material for the making of enamels—and were already highly skilled in the working of bronzes and other metals, there is no evidence that the art of enamelling was practiced before the Tang dynasty (618–907). There is in the Shōsō-in (principal storehouse) at Nara, Japan, a silver mirror the back of which is decorated in cloisonné.
It is generally agreed that the mirror is of Chinese origin, dating from the Tang dynasty, as is certainly the case with many other objects in the collection. At present this is the only known Chinese enamelled ware made before the 14th century, but it can be safely assumed from this piece that the art of cloisonné was developed to a respectable height in the Tang dynasty. It appears that cloisonné work was well established in China at the end of the 14th century and that Byzantine work of similar character was also so well known as to invite comparison with the native product.
The former may well have served as an example for Chinese craftsmen. As one scholar points out: The workmanship presents occasionally…striking resemblances with certain enamels of the Byzantine school; the mixture of different enamels inside the wall of the same cell, the employment of gold incrustations in the treatment of the fingers and the hands, etc. Active trade and cultural intercourse between the Near East and China during the Yuan (Mongol) dynasty must have been the reason for this revival of enamelwork, which then flourished through the Ming and Qing dynasties (1368–1644 and 1644–1911/12, respectively).
Chinese enamels fall into three categories—cloisonné, champlevé, and painted. In none does the technique vary appreciably from that employed in Western countries. Cloisonné The earliest example of cloisonné enamel that can be authentically associated with east Asia is the silver mirror in the Shōsō-in mentioned above. Its cloisonné back is decorated in a design of a six-petalled blossom in three layers, the tips of the outer rows of petals forming 12 points of the mirror.
The piece is regarded as a Tang dynasty work. Apart from this, the sequence of known Chinese enamels begins in the Yuan period, and the earliest recorded marks belong to the reign of the last emperor of that dynasty (1333–68). The great period of production is certainly that of the Ming dynasty, which followed. The mark most commonly found within this period is that of the Jingtai reign (1449–57).
The Ming enamels, bold in design with fine depth and purity of colour, were never surpassed in later epochs. The two shades of blue, a dark lapis-lazuli tone and a pale sky blue with a very slight tinge of green, are particularly excellent. The red is of dark coral tint, and the yellow is full-bodied and pure. Greens derived from copper are sparingly used. Black and white are the least successful, the former shallow and dull, the latter clouded and muddy.
As fine as the Ming enamels are, however, there is an imperfection of technique, close examination revealing minute pitting in the enamels, which was caused by inadequate packing of the material, and some lack of polish in the surface. These technical defects, however, do not appreciably detract from the great artistic value of the Ming enamels. A great revival of art industries took place under the patronage of the emperor Kangxi (1661–1722), who in 1680 established a series of imperial factories.
He commissioned sets of incense vessels of cloisonné enamel for presentation to the numerous Buddhist temples founded under his auspices in the neighbourhood of Beijing, as well as other objects for the honorific gifts that were characteristic of his enlightened reign. The enamels produced during his time are marked by an improvement in technical quality as compared with those of the Ming period; to a considerable extent they also retained the finer qualities of the Ming wares.
In many cases the forms of ancient bronze vessels were revived and enriched with enamels. The style of this reign persisted during that of Kangxi’s successor, Yangzheng (1722–35), while the long rule of Qianlong (1735–96) was marked, in enamel as in the case of many other industrial arts, by a further perfection of technique but by a loss of much of the vigour of design and breadth of execution that distinguished the products of earlier periods.
Modern enamels, although they are primarily imitations of older work, are more hurriedly made and therefore not so well finished as the older work. Champlevé Some of the most ancient enamel examples extant belong to this class, and examples employing both champlevé and cloisonné are not uncommon. Although the opaque enamels were more common, Chinese artisans occasionally used translucent enamels on a silver or gold base.
The cloisonné back of the silver mirror in the Shōsō-in, for example, is decorated with transparent enamels, but important pieces such as this are rare. This technique more often appears in Chinese jewelry. Painted enamels The painted enamels of China are generally known as Canton enamels, from the principal seat of their manufacture—Guangzhou, which European traders called Canton. They are practically identical in technique with the Limoges and other painted enamels of Europe.
Specimens of the latter are known to have been taken to China by the missionaries of the late 17th and 18th centuries; they not only exercised direct influence on the Chinese ware but also, in some cases, were copied. Representations of European subjects, copies of engravings and armorial decorations, are also found. Painted enamels are termed by the Chinese yangci (“foreign porcelain”), the palette of colours used being the same as with enamelled porcelain, whose decoration under foreign influence is called yangcai (“foreign colours”).
A ground of opaque enamel, generally white, is laid on the copper, and on this the colours are superimposed and fired. The best period of this art was the 18th century. Although imitations have continued to be made, nothing of real quality in this style was produced after the termination of the reign of Qianlong in 1796. The method has always been looked upon by the Chinese as alien in taste; in fact, a great part of the Canton enamels were made for export, not only on European commission but also for clients in India, Persia, and several other Asian countries.
The art of enamelling in Japan may date back to the 7th century. One enamelled metal piece discovered in a tomb near Nara, probably from the 7th century, seems to be of Japanese origin. The civic Taihō code, compiled in the 8th century, provides one official to be in charge of founding metals and “painted glass decoration.” Subsequently, however, this art seems almost to die out until the 17th century.
When Dōnin Hirata I (1591–1646) made enamelled wares, having learned the technique from Koreans, his art was highly appreciated by Tokugawa Ieyasu, then the shogun of Japan, under whose patronage Hirata worked in Kyōto. There is a suit of armour with enamelled metal fittings ascribed to him, as well as enamelled metal fittings decorating sliding doors and lintels in the Katsura Palace, Kyōto.
His family continued the trade until the late 19th century, making use, on a small scale, of both the cloisonné and champlevé methods. There was no further development of importance until Kaji Tsunekichi (1803–83) and his pupils established in Nagoya a successful manufacture of cloisonné, which obtained a considerable vogue, especially among foreigners. While Kaji used brass cloisons and opaque enamel colours only, his successors used silver cloisons and succeeded in making both transparent and translucent enamels.
They further modified the cloisonné process with remarkable ingenuity and produced work of great interest. First, they reproduced in minutely detailed cloisonné work realistic pictures, of trees and flowers, for example. This effort led them in the 1880s to produce lineless cloisonné enamels, which have all the beauty and brilliance of true cloisonné, with thick layers of enamel colours, but which, showing no trace of cloisons, permit a gradation of colours as in the less clear and brilliant painted enamels.
The effect was achieved by taking off the cloisons before each firing, the process being repeated at least three times. The artists working for the factory of Namikawa Sōsuke of Tokyo in the late 19th century were most successful in this technique. Another Namikawa of Kyōto worked in true cloisonné. The factory of Jubei Ando of Nagoya has produced more variations. These developments have carried the art of enamel very far from the old traditions; while the skill and ingenuity of technique they evince may be appreciated, there is a danger of losing the artistry peculiar to the art of enamelling.
The Editors of Encyclopædia Britannica
Title: The Forgery Metal Art