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Another term used to refer to the art of cold painting and gilding on the back of glass is verre églomisé, named after the French decorator Jean-Baptiste Glomy (1711–86), who framed prints using glass that had been reverse-painted. [1] In German it is known as Hinterglasmalerei. This art form has been around for many years.
The image is face-mounted and stuck to the acrylic glass with a special sealant. Normally the mounted print is then placed on a carrier sheet. This is usually Aluminum. If the print has to be backlit, translucent materials such as acrylic can be used instead. The Diasec gel is neutral curing and has an inbuilt ultraviolet filter.
Acrylic is also light weight, compared to glass, and is shatter-resistant, making acrylic an attractive choice for framing large, oversized works of art. In general, acrylic sheet scratches easily and retains a static charge, which can be problematic when framing pastels or charcoals.
An obvious English translation of cliché verre is "glass print", but this is usually avoided because the term has another meaning. This is a print that has been glued face down onto glass, the paper then being carefully rubbed off to leave the ink film adhering to the glass. This is then hand-coloured and framed as a decorative piece.
Vitreography is a fine art printmaking technique that uses a 3 ⁄ 8-inch-thick (9.5 mm) float glass matrix instead of the traditional matrices of metal, wood or stone. A print created using the technique is called a vitreograph.
Mythological scene with Apollo, Fame, and the Muses by Antoon Sallaert. Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass.
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