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| Version | User | Scope of changes |
|---|---|---|
| Jun 19 2007, 1:55 PM EDT (current) | kjacobso | |
| Jun 19 2007, 1:54 PM EDT | kjacobso | 502 words added |
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The art of tinsel “painting” was inspired by the elegant English painted mirrors that were popular at the end of the 18th and the beginning of the 19th centuries. A reversed scene was painted on a panel of glass, enhanced with gold or silver leaf, and inset at the top of a mirror. The derivative art form came into the home years later, when more affordable tinsel took the place of costly gold leaf.
Tinsel art was not simple. Because the drawings had to be done in reverse, they were subject to flaws that were never a problem with other kinds of decorative art. Often the pieces were the products of do-it-yourself kits or designs drawn from such magazines as Godey’s Lady’s Book. Schoolgirls and young women started by stenciling a design on the back of a pane of glass. They colored in the design using various hues of translucent paint. Then they affixed thin sheets of crinkled tinfoil on top of the painted design. When viewed from the front, the foil glittered through the translucency of the paint. The painting was finished by surrounding the design with a coat of opaque paint, creating the background. Black backgrounds were most common, but white, cream, and other lighter colors were used to enhance floral, fruit, or motto pieces. The use of stencils reduced the number of errors, but problems of size and scale became apparent only when the tinsel had dried and the painting was viewed from the front. Indeed, some of the depictions were so askew as to appear almost primitive. The tinsel foil itself tends to be dull and gray; aluminum reproductions are brighter.
Because the appearance of tinsel paintings depended on the quality of the materials as well as on the skill of the artist, they were often rudimentary and bright—and sometimes downright gaudy. As works of art, they didn’t have much appeal after their initial commercial popularity. Some were hung on walls and passed from one generation to the next as slightly embarrassing family heirlooms, but many more were hidden in closets, banished to dusty oblivion.
Although tinsel painting continued into the first quarter of the 20th century, the most valuable pieces date from the second half of the 19th century. In Victorian England, pictorial landscapes—pastoral countrysides enhanced with small cottages or castles—were very popular. Americans often preferred patriotic themes—the Statue of Liberty was a favorite subject. Floral patterns were popular in both countries. The radiance and complexity of tinsel painting shines through most brilliantly in paintings that feature a variety of flowers and textures.
Because so many tinsel paintings feature floral designs, unusual subjects, such as butterflies, birds, and the ever-so-rare ships and figure renderings, are much more valued by collectors. Size is another factor in collectibility. Most of the pieces that survived were generated by kits or sketches and tend to be small. Don’t be surprised if you have to pay more for larger pieces of tinsel. And paintings in their original frames are more valuable.
Tinsel art was not simple. Because the drawings had to be done in reverse, they were subject to flaws that were never a problem with other kinds of decorative art. Often the pieces were the products of do-it-yourself kits or designs drawn from such magazines as Godey’s Lady’s Book. Schoolgirls and young women started by stenciling a design on the back of a pane of glass. They colored in the design using various hues of translucent paint. Then they affixed thin sheets of crinkled tinfoil on top of the painted design. When viewed from the front, the foil glittered through the translucency of the paint. The painting was finished by surrounding the design with a coat of opaque paint, creating the background. Black backgrounds were most common, but white, cream, and other lighter colors were used to enhance floral, fruit, or motto pieces. The use of stencils reduced the number of errors, but problems of size and scale became apparent only when the tinsel had dried and the painting was viewed from the front. Indeed, some of the depictions were so askew as to appear almost primitive. The tinsel foil itself tends to be dull and gray; aluminum reproductions are brighter.
Because the appearance of tinsel paintings depended on the quality of the materials as well as on the skill of the artist, they were often rudimentary and bright—and sometimes downright gaudy. As works of art, they didn’t have much appeal after their initial commercial popularity. Some were hung on walls and passed from one generation to the next as slightly embarrassing family heirlooms, but many more were hidden in closets, banished to dusty oblivion.
Although tinsel painting continued into the first quarter of the 20th century, the most valuable pieces date from the second half of the 19th century. In Victorian England, pictorial landscapes—pastoral countrysides enhanced with small cottages or castles—were very popular. Americans often preferred patriotic themes—the Statue of Liberty was a favorite subject. Floral patterns were popular in both countries. The radiance and complexity of tinsel painting shines through most brilliantly in paintings that feature a variety of flowers and textures.
Because so many tinsel paintings feature floral designs, unusual subjects, such as butterflies, birds, and the ever-so-rare ships and figure renderings, are much more valued by collectors. Size is another factor in collectibility. Most of the pieces that survived were generated by kits or sketches and tend to be small. Don’t be surprised if you have to pay more for larger pieces of tinsel. And paintings in their original frames are more valuable.
