The National Gallery of Victoria, also known as the NGV is full of a range of artworks spanning over different time periods and a range of creative environments. The task in week one, to visit the NGV and list paintings, focusing on various aspects of the frame was refreshing and intriguing. Jumping from room to room, it was interesting to distinguish the contrast in influences from collections such as the Asian Artworks to the European Artwork. When inspecting individual pieces of artwork, the aspects of the image as a whole can be recognised individually and together to create the artwork as a whole. Lighting, usually dimly lit, was however utilised to shine on individual artworks, highlighting fine strokes or to draw focus on the key areas of a painting. One thing that I noticed was the use of frames. In some paintings such as David Hockney’s “The Second Marriage”, the frame used was barely that, a simple orange looking trim to encase the painting and its slated edges in order for onlookers to completely focus on what the painting was communicating. In contrast, J. M. W Turner’s “Dunstanburgh Castle, north-east coast of Northumberland, sunrise after a squally night” was encased by a large gold frame. It’s thickness and grandeur draws attention to the lighter aspects of the painting, taking the focus from its lower half, which had darker tones.

It was interesting to see the way in which a gallery uses the lighting and specifically frames itself to create a focus for the audience that was seemingly intended by the artists themselves. In the artworks that I saw, the frames strengthen the artwork, rather than overpower them.

Links to the paintings mentioned in the Gallery are:

• David Hockney’s “The Second Marriage” (1963):
http://www.ngv.vic.gov.au/explore/collection/work/4054/

• M. W Turner’s “Dunstanburgh Castle, north-east coast of Northumberland, sunrise after a squally night” (1798):
http://www.ngv.vic.gov.au/explore/collection/work/4423/