Should a Lee Krasner print have a white mat—what the standards say

The mat’s role: separation, proportion, protection

White or neutral matting serves three functions for a framed Lee Krasner print. First, it creates optical separation between the artwork and the frame, preventing the composition (particularly her dense, gestural works like White Painting (Three Panel), 1951) from competing with the frame’s edge. Second, it enforces proportion: a 50x70 cm (20x28 in) print requires a 5–6 cm (2–2.5 in) mat to maintain the two-thirds rule above furniture, per Fine Art Trade Guild standards. Third, an acid-free cotton-rag mat (4-ply, ~1.5 mm thickness) acts as a barrier against environmental contaminants.

For Krasner’s work—where white is often a dominant negative space—the mat should be bright white (96–98% brightness) to match the paper’s original tone, not cream or warm white. This aligns with MoMA’s framing guidelines for post-war abstraction, which prioritize neutrality to avoid distorting the artist’s intent. The same principle applies to hiroshi nagai prints, where color accuracy depends on mat neutrality.

When to deviate: scale, series, and exhibition history

Exceptions exist for oversized prints or specific series. Krasner’s later collages (e.g., Compositions, 1950s) benefit from a narrower 3–4 cm (1.2–1.6 in) mat when framed at 70x100 cm (28x40 in) or larger, as excessive matting can disrupt the work’s physical presence. For reference, Tate’s exhibition history for her 1960s pieces confirms minimal matting for large-scale works to preserve their immersive effect.

If the print is an offset lithograph (common for posthumous editions, priced $800–$2,500), a mat is non-negotiable—it compensates for the flat, uniform ink layers. For archival giclée prints (pigment-based, 310 gsm cotton-rag, $1,200–$4,000), the mat’s width can flex slightly (up to 8 cm / 3 in) to accentuate texture. Compare this to a glossy hiroshi nagai prints edition, where a mat mitigates glare—matting decisions are medium-specific.

Glazing and UV control: the mat’s silent partner

The mat’s protective role extends only as far as the glazing allows. A framed Lee Krasner print demands UV-protective glass (99% UV block, e.g., Museum Glass or Optium Acrylic) to prevent fading—critical for her cadmium reds and ultramarines. The American Institute for Conservation notes that even acid-free mats cannot fully offset UV damage without proper glazing.

Cost considerations:

• Standard UV glass (70% block): +$120–$200 for 50x70 cm (20x28 in).
• Premium acrylic (99% block, anti-reflective): +$300–$500 for the same size.
• Spacer depth: 3–5 mm to prevent condensation between glazing and mat.

Resolving the complication: a framing formula

The underlying concern—that framing feels arbitrary—stems from the absence of fixed rules. The solution is a formula based on print size, medium, and display context:

• Small prints (30x40 cm / 12x16 in or A3): 5 cm (2 in) mat + 2.5 cm (1 in) frame face = 7.5 cm (3 in) total border.
• Standard prints (50x70 cm / 20x28 in or A2): 6 cm (2.4 in) mat + 3 cm (1.2 in) frame = 9 cm (3.5 in) border.
• Large prints (70x100 cm / 28x40 in): 4 cm (1.6 in) mat + 3.5 cm (1.4 in) frame = 7.5 cm (3 in) border.

For a framed Lee Krasner print in a family home (moderate light, ~150 lux), this formula ensures the work neither overwhelms nor recedes. The mat’s width should equal 10–15% of the print’s shortest dimension—a ratio derived from the Fine Art Trade Guild’s proportional guidelines for abstract works.

Hanging height remains constant: center the print at 145–150 cm (57–60 in) from the floor, regardless of mat width. This aligns the artwork with average eye level and satisfies the two-thirds rule above a sofa or console (100–110 cm / 40–44 in tall).

Matte vs. glossy prints: how the mat compensates

The print’s finish dictates the mat’s secondary role. Krasner’s estate-authorized giclées (matte, 310 gsm cotton-rag) require a mat to add depth, while her rare glossy offset lithographs (250 gsm, priced $1,500–$3,000) use the mat to reduce reflectivity. This mirrors the approach for hiroshi nagai prints, where glossy editions demand a mat to prevent the ink’s sheen from merging with the glazing.

For matte prints, opt for a textured mat (e.g., linen or suede finish) to enhance tactility. For glossy, a smooth, bright white mat (98% brightness) creates contrast. The Metropolitan Museum of Art’s print department recommends this distinction to preserve the artist’s chosen surface quality.