Always in the background
- Georg handcrafts frames of all styles
- He learned his craft skills from his father
- He owns a collection of more than 2,500 historic frames
The workshop of Wilhelm Smolka was established in Vienna over 100 years ago. Since then, “Smolka” has become a well-known name in the world of fine art. Georg Wilhelm Smolka, the current owner and master artisan, learned his craft from his father Wilhelm and took over the company after obtaining his master’s certificate in 1986. He now trains young people as apprentices, providing them with pratical experience ahead of their master’s examinations. Georg’s father had the honour to contribute to the restoration projects of the most famous public historic buildings in Vienna after World War II: the Vienna State Opera, the Winter Palace of Prince Eugene of Savoy, the Vienna Imperial Palace, Schönbrunn Castle and many more. Georg’s most significant and memorable commisiion was creating a new frame for Albrecht Dürer’s world famous drawing “A Young Hare”.
INTERVIEW
It’s a combination of mastering artisanal techniques at the highest level and a profound knowledge of art history. To find the perfect shape of a frame means to feel and understand the vibrancy of the painting or drawing as well as to contextualise the historical and artisanal meaning.
On the one hand, it is a border. But it is also a transition to the surroundings. The frame has to underline the picture’s quality, to highlight its vividness and to enhance its depth by drawing the viewer's eye to the painting and not detracting any attention from it.
Yes and no. Of course, the painting is the focal point of the total artwork, but the frame is crucial for its appeal, creating harmony with the surroundings and arranging the whole space. I love this kind of work, deciding which style out of my collection of 2,500 historic frames fits best.
For contemporary artworks, it is common that new frame solutions have to be developed. Every piece is unique, like a tailor made suit. And often, even I’m surprised by the new effect of a framed painting. I’m especially fascinated by the variety and subtlety of surfaces I can create.
