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EN
Contemporary conservation o f easel paintings executed on canvas attaches increasing importance to the application o f suitable painting frames, both exposition and auxiliary, employed for conservation purposes. Attention is paid to their considerable impact upon the state o f the preservation o f the paintings. Even a brief review o f the development of the frames indicates how much has been accomplished for the elimination o f the negative effects caused by them. The nineteenth and, in particular, the twentieth century witnessed the appearance o f numerous new frame constructions. Some were devised as rather complicated equipment whose task was an automatic adaptation to changes in the paintings caused by micro-climatic conditions. The analysis o f various types o f frames shows that their construction and functioning can prevent the destruction o f the paintings, albeit not totally. This fact is connected with the imperfection o f the base i.e. the canvas, which relatively easily succumbs to micro-climatic oscillations. In the majority o f cases, the presented types o f frames, especially the most modern ones, do not accelerate the process o f aging and damage; nonetheless, they too do not prevent the natural aging o f paintings. A large group o f the new constructions can be used, apart from their exposition function, as auxiliary frames for conservation. Such purely auxiliary frames are the object o f studies. The contemporary constructions of specialist frames, either exposition or auxiliary, are to a growing extent made o f metal.
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