Page 23 - January1948

NATIONAL BUTTON BULLETIN 2l

Paintings, especially still life and landscapes executed in reverse, enjoyed
much vogue in England and x'rance in the latter part of the lgth century.
six editions of a small booklet I'he Artist's Assistairt were prirrted in phlla-
delphia before 1800 and an earlier work The Handmaid -ot ttre Arts was
published in 1764; treating particularty on paintings under glass, showing
that attenpts at the same form of artistic expression were made on our side
of the Atlantic.
A relationship exists between these small paintings and those of a simi-
lar technique, found chiefly in the heads of mirrors, and the doors of the
willard banjo and the Eli rerry bracket type clocks. 'The artist who painted
these buttons showed a marked Breference for strong greens, insistent reds,
yellow-browns and strong whites.
The drawings during this period are ge'erally poor and often chlldish
and are therefore called "prirnitives." The subjects most frequently depicted
are bits of local landscape, bridges, trees and a figure or two.
These paintings on glass dre chiefly done with minerar colors; and a
great deal of labor is necessary with this technique. The lighter shades are
laid on first and the dalker ones next; for the flrst colors appliecl tenrl to
hide those laid on later. In this way the slight shading that is at all possible
is accomplished.
Folce, substa'ce, reality and detail are the primary characteristics of
foregrounds, and these are obtained on these but[ons uv trre bright almost
pure colors that are applied. Sharpness and decision are obtainled by the
addition of black, as may be noted particularly on the structures and bridges.
All dark outlines wele done at the finishing stage, to prevent a possible dalk-
ening of the tone of the whole work.
oftentimes the entire picture was varnished when finished, resulting in
a brilliant and effective picture.
These buttons should be seen to be able to visualize the vivid colorings;
the green-blue of the water; the light blue of ilre distant hills; the warm red.
bro\r'n of the cows or steers; the brorvn-black of the donkeyj the black and
white of the ram; and the sharp grey color of the horse.
You will be able to note how the artist attempted to depict great age by
showing signs of erosion, on button No. 12, foi' the coniour'line is not
straight. The ancient structure rvith the rococo roof, and the tree plojecting
beyond it add a great deal of quaintness to the landscape.
The figures are decidedly mascurine; the hair is worn long; the slender
trousers are pink and the coat is blue. The hands are in the poiition of driv-
ing but there are no reins, illnstrating a disregald of too much detail in
painlings sueh as these.
_ They were displayed at the Indianapolis Shov/ by Dorothy Lloyd of
Pennsylvania, and 'lvere brought by comdr. David J. Lloyd on-his return
from the European Theatre of war, having been purchased it a London shop.
L. S. A.

REVERSE PAINTINGS ON GLASS
Paintings executed on the under side of glass were exceedingly popular
in France and England during the 18th and early part of the 19th centuries
and the buttoDs of this character are generally of a size comparable to the
buttons shorvn here (one and one-half inches in tliameter).
Sometimes the background was painted direcily on the glass r.'r.ith the
rest of the picture; at other times the reverse painting was backed with
paper, pearl, or nretallic foil in brilliant colors. Another method was having
the backgrouDd painted oD a flat piece of metal, glass or ivory. This tech-
nique gives a suggestion of depilr to the picture. The Metropoiitan Museum
has a group of buttons with the design painted o.t i.he background
'rain
medium and additional floriated scroll work and silhouettes painted on the
rundelside of the glass. The effect is similar, that of depth.
For common work a material called flatted crown glass was suitable,
but where nicety of execution was necessary, plate glais was used. The
rough side of the glass was placed on the outside, for any unevenness or