Lunchtime atop a Skyscraper by Charles C. Ebbets

Lunchtime atop a Skyscraper by Charles C. Ebbets


You’ve purchased some wonderful art prints at Framed Art Decor, where you also had them expertly framed and now you can’t wait to hang them.

“Oh,” you say, “I need to hang them… how do you do that again?”

No sweat, but you need to stay focused. Poorly hung artwork would make even the Mona Lisa look cheesy.

Assuming that your lighting has been thought through, and you know that your art will be clearly visible when displayed in their desired locations, there are some simple steps to follow in order to hang them like an expert.

Keep in mind that the rules for hanging artwork are flexible according to your needs and preferences, but this information will be a handy guide from which to work.

Planning- first things first.

Put your artwork on the floor and lean it against the wall where it will be hung. You can do this with all the artwork for your room at one time if you have more than one piece to hang.

Envision how people will be viewing the artwork. Will they mostly be sitting down?

Most people hang their artwork too high. If you imagine a halfway horizontal line across your artwork, that central line would be considered eye level. This is the desirable plane on which to view artwork.

How high or low on the wall you wish to display your artwork may vary according to the average height of those viewing the art. If people will be seated when viewing the art, then the height of the center vision line would need to be lowered to accommodate the approximation of eye level for sitting people.

56” from the floor to the center line is a good place from which to start, but raising it or lowering it according to the elements in the room and how people will view the artwork should be taken into consideration.

If you have two or more smaller pieces of art, they can be hung in two rows, one on top of the other with the eye level line halfway between them, which would be approximately 3”to 4”. Larger paintings would require at least 6” to 8” between them.

A smaller piece of art can be hung over a slightly larger one. The eye level line for this group would be halfway between the top of the smaller piece to the bottom of the slightly larger piece including the 3” to 4” dividing space.

Hanging a single piece of artwork:

Measure the halfway line from the top of your artwork to its bottom including the frame. That measurement cut in half is the artwork’s center line. If possible, a small mark can be made on the back of the artwork to indicate the center line. A piece of tape will do as well.

Now, measure the distance from the floor to a point up on the wall at 56”. This may be more or less, according to your needs. Put a mark in pencil on the wall at that point.

Stretch the picture hanger wire on the back of your artwork up to a point as if there where a picture hanger holding it. Measure the point from the center line of the artwork to the top of the stretched picture hanger wire.

The measurement of distance from the floor to the point you placed on the wall plus the distance between the center line on your artwork and the top of the stretched picture hanger wire is where the picture hanger will be placed on the wall.

Some paintings might require more than one picture hook. These can be spaced about 3” apart. Large paintings should have a picture hanger hook in from each end of the wire about 6” to 8”.

Hanging a smaller art piece over a little larger one:

Add the measurement of the height of the two paintings plus the 3” to 4” dividing space that will be between them. Cut that measurement in half, which gives you the visual center line for the two pieces.

Now, measure the distance from the floor to the point on the wall at approximately 56” and mark it in pencil.

Take the smaller painting which will be above the other. Stretch its picture hanger wire up to a point where the picture hanger will hold it when it hangs on the wall. Measure the distance between that point on the picture hanger wire and the top of the painting.

Take the measurement of the horizontal center line for the two paintings and subtract the measurement from the stretched picture hanger to the top of the smaller painting. The resulting amount is then added to 56”. This gives you the measurement of where to put the top picture hanger on the wall. Mark it on the wall in pencil.

Once the smaller art piece is hung on the wall, take the larger painting and stretch its picture hanger wire up at the central point where its picture hanger will hold it. Measure that point to the top of the larger art piece.

Add the measurement of the stretched picture hanger to the top of the artwork plus 3” to 4” for the dividing space between the two paintings. The resulting number of inches is measured down from the bottom of the top art piece and marked on the wall. Make sure the mark for the bottom picture hanger is aligned with the top picture hanger. This is where the hanger will be placed for the lower piece of art on the wall.

Hanging two rows of smaller paintings:

Groupings of artwork can be very decorative and dramatic.

Planning is important when hanging art in groups. Are there six pictures in two rows, or eight pictures in two rows, etc.? The vertical center line may fall between two paintings or in the center of two paintings depending on how many are in the group. Working out from center may be helpful to ensure proper placement.

Assuming the overall design of the grouping is appropriately worked out for the wall space, hanging smaller pictures in two rows is the same as hanging a larger picture under a smaller one, as earlier described.

For small pictures that are the same size, the center vision line is in the halfway point between the top piece of art and the bottom one. Horizontally, the pictures need to have a space approximately 3” to 4” between them.

Horizontal hanging of more than one piece of artwork requires the measurement of the width of one of the small pictures added to the measurement of the space between the pictures. This distance is what is needed to hang the next picture hanger hook to the right or left.

To keep the artwork level, the measurement from the floor to the picture hanger hook remains the same from one to the other unless pictures are along a stairway.

Hanging artwork along stairways:

Artwork should be aligned with the center of each stair and probably no more than about 5’ from the stair to the center vision line of the painting.

Hanging artwork at alternating heights:

What looks best for artwork that alternates in height within a grouping is that the top of one picture is on the same plane as the bottom of the picture next to it. This creates a straight line from which each piece either goes up or down.

Hanging a line of artwork on one wall:

If all the artwork is the same size on a wall, the eye goes to the overall consistency of shapes and frames, rather than the artwork itself. It is best to hang different sized pieces together in a long line so the eye tends to rest on each piece individually.

Some artwork hangs in two or three pieces connected as one concept called a diptych or triptych. They would be an exception to this guideline.

Spatial effects:

Small masterful or dramatic pieces of artwork may be best hung with a lot of space around them. Otherwise they get lost in the artwork surrounding them. Museums often offer small important artwork a whole wall for viewing, and keep it low on the wall.

To make walls look higher, keep the artwork slightly lower. To make the ceiling lower, hang the artwork a bit higher.

Picture hanging systems:

All you have to do is Google picture hanging systems, to find an array of hanging systems for artwork that support flexibility and ease. If the artwork in a space is always revolving such as in corporate offices, galleries, hospitals and government buildings, upgraded picture hanging systems would be a great option.

Some people have an eye for hanging art.

Those souls who are brave enough to hang artwork completely by eye, often have a group of holes behind their artwork where they were either too far to one side, or too high or low. This is one method to hang art, however, good planning and consistent good habits bring much better results.


Framed Art Decor offers hundreds of museum quality art prints, photographic prints and posters to view and purchase at their website. Expert framing assistance for artwork is offered through the use of an online tool which shows each print in a choice of frames with just a click. Articles on Decorating topics, artists and their artwork are available on the website.

Leagh Janell is passionate about fine art and decorating. His 30 years as a fine artist and decorative artist for a high profile clientele have afforded him some authority in those fields. At present, Mr. Janell writes for Framed Art Decor.



"I want to be a tuneswept fiddle string that feels the master melody, and snaps..."

Amedeo Modigliani, a painter and a sculptor, was born July 2, 1884, in Livorno, Italy. He moved to Paris as a young, idealistic artist and met the likes of Pablo Picasso and other successful artists, but success and fame eluded him.

In his scant 36 years, Modigliani created a group of paintings, many of them portraits, which are now well known throughout the world. He was sickly throughout his life, abused alcohol and drugs and was impoverished. His beloved wife, Jeanne, committed suicide after his death.

Influenced by the linear designs of African sculpture, Modigliani’s portraits are unique, skillful and sensitive. Artists of the time were experimenting with impressionism, surrealism and cubism. Modigliani kept to an elegant style of his own with long gently curved lines and soft colors. His subject’s heads are sensitively tilted to one side on long, slender necks with sloping shoulders which gives them a delicate quality. The individuals he painted seem emotionally removed, with long thin noses and vacant eyes, but are painted with tenderness. He often painted women, with whom he held a great interest, and people who were sickly, not unlike himself.


A Beautiful Life Framed Art

A Beautiful Life, museum quality art print from

Purple is the color of the spiritual magician and the enlightened creative artist.

Purple vibrates in a more rarified color atmosphere, making it a bit other-worldly.

Purple flowers and tree blossoms almost have a supernatural quality. They are regal and dignified in a way that is both calming, yet euphoric.

Red and blue are the two primary colors that create purple, making it a secondary color. It holds a blend of psychological qualities from both.

There is a rich freshness to purple which tends to make it easy to live with, in its more moderate shades.

The color wheel is a visual tool that provides a variety of schemes for decorating in each color.

The colors on the color wheel are pure, so they are intense. These colors would be toned down to varying degrees for decorating purposes, but they still come from the same basic families of color.

Yellow is purple’s complement, because it is directly opposite purple on the color wheel.

On either side of yellow is a warm yellow-orange and yellow green. The combination of purple with yellow-orange and yellow-green is called a split-complementary color combination.

Blue-purple and red-purple are on either side of purple on the color wheel. The combination of those three are called an analogous color scheme. It is a harmonious combination.

The two next steps beyond blue-purple and red-purple on the color wheel are blue and red. Purple, blue and red are a split-analogous color combination.

A bold color scheme for purple on the color wheel is called a triad, which is a set of three colors that are equidistant on the color wheel like a triangle. A triad which includes purple would be the addition of the colors green and orange.

Colors in a scheme should contrast one another.

If purple is the most dominant color in a triadic scheme, it would show best as the darkest shade of the three colors. If green is secondary in the color scheme, its shade should be lighter than purple to the extent that it is easy to see the contrast. In this instance, orange would be the lightest of the three colors.

If painting the trim of a room with a light, high key contrast is desired, white with a touch of yellow-orange would nicely complement both purple and green. This is to show that the members of a color scheme can be altered to a great degree and still remain true to the original color combination.

Fabrics present a myriad of combinations from which to draw for wall color choices.

One way to explore the possible choices of your purple room is to seek out your fabrics first. It may be that your textiles, even an area rug, might be how you present your purple, while the wall colors complement them.

Purple used as an accent color makes it possible to use the color in a more intense form than if the room was predominantly that color. It is good to remember that even a toned down version of purple might make a strong statement.

When seeking out a true purple, try out blue-purple and red-purple color samples as well. When shopping at the decorating store, it is sometimes a good idea to choose color samples which you might not have normally picked. Bring them home with the one’s you are most interested in- you might be surprised.

The museum quality art print, A Beautiful Life, presented in this article, is available for viewing or purchase on Expert framing is also available. Frames and matting can be easily viewed on each print with just a click.

Leagh Janell is passionate about fine art and decorating. His 30 years as a fine artist and decorative artist for a high profile clientele have afforded him some authority in those fields. At present, Mr. Janell writes for Framed Art Decor.



Nature has provided us with everything we need to know about color.

Man’s curiosity about the glory of our Earth and the universe in which it exists, gave rise to its exploration. The arts and sciences were born out of the love of nature and a desire to exist more comfortably and harmoniously within it.

When our bellies were full and warm, and our families were safe enough, our interests turned toward wonders such as perception, beauty and artistic expression.

Our world can only be perceived because it is filled with light.

Light moves from the sun through Earth’s atmosphere, which varies in its composition of moisture, gases and particulates. Light is affected by these variations, so it tends to refract into a spectrum of colors, which originally is combined to make up natural light. A spectacular sunset or a rainbow, are examples of this phenomena.

The molecular structure of everything we perceive causes some colors to reflect and others to absorb. We perceive only those colors in the spectrum, which make up natural light, that reflect back to the eye.

We feel a relationship with color.

Colors affect us emotionally because of how are physical bodies and psychological aspects are balanced. People tend to share some of these aspects, yet they can vary greatly from one culture to another.

We can share certain feelings in relationship to various colors in general, but how we feel in relationship to particular versions of each color tend to be individual.

Variety is the spice of life”.

Decorating, for the most part, is an exciting journey into self expression. However, it can be a challenging journey when it comes to choosing colors, fabrics, tiles, furniture, wallpapers and fixtures.

There is so much on the market and we all have a budget we hope to stick to. Sometimes it is difficult to know exactly what we wish to surround ourselves with. Time to shop can be limited. If you are a couple that wishes to share decorating decision making, negotiating skills and relationship skills might need to be sharpened.

The market place is filled with decorating tools to help make planning and decision making easier and more efficient.

Color WheelThe Color Wheel is a color relationship reference tool.

This handy color tool is a rainbow in the form of a pie chart. The color spectrum as light blends between colors, but the color wheel clearly delineates each color for the benefit of analyzing their inter-relationships for color schemes.

There are names for various sets of color relationships-

Analogous colors are those which lie on either side of a particular color which is in the same family. Analogous colors are harmonious. Below is a description of analogous color combinations:

Violet has blue-violet on one side and red violet on the other. Red-orange has red on one side and orange on the other. Yellow-orange has orange on one side and yellow on the other. Green has blue-green and yellow- green on either side. Finally, blue is flanked by blue-green and blue-violet.

Complementary colors are those which are direct opposites on the color wheel.

For instance, red and blue-green are opposites, as are orange and blue, yellow-orange and blue-violet, yellow and violet, yellow-green and red-violet, green and red, blue-green and red-orange, blue and orange, blue-violet and yellow orange, violet and yellow.

Split-analogous colors are those which are one space away from either side of a main color.

Red, violet and blue are an example of a split-analogous color scheme. Yellow, orange and green are also an example.

Split-complementary colors are those on either side of a particular color’s complement-

Red, blue-green and yellow-green are an example of a split-complementary color scheme. Another one would be blue, red-orange and yellow-orange.

Another schematic possibility is a combination of two crossed complimentary relationships on the color wheel.

A Triad refers to a triangular combination of colors on the color wheel.

An example of a triadic color scheme is red, blue and yellow and violet, orange and green.

Another schematic possibility is a combination of two crossed complimentary relationships on the color wheel.

Color schemes can include an inter-relationship of value and intensity.

How colors relate as a set depends upon their position on the color wheel, but also upon their relationship to one another in terms of value and intensity.

Just as a particular color is chosen to be a dominant in a color scheme, there might also be a dominant value.

How dark or light a color is would be a determination of its value. Three walls of a room in a lighter yellow based cream color contrasted by one wall as a darker violet, is an example.

Another would be walls that are dark blue with trim that is in cream. Softer contrasts of value can be successful as long as there is enough of a clear contrast between them.

Another choice to ponder is creating a dominant intensity.

How “saturated”, or intense a color is, would make it stand out in a color scheme. A chosen accent color might be more intense than the other colors in a room. An example would be a warm gray room that is lower-mid range in value with a lighter warm yellow as a high key complement.

There are mixed colors at the paint store which are more complex than the basic colors on the color wheel chart. The colors will generally fall into a category of color anyway and the commercial paint companies have mapped out many of the color relationships with an array of values and intensities for the consumer’s convenience.

Your home is your garden.

When decorating, it is good to remember that all the inter-relationships of color, value and intensity, have already appeared in nature in some form. Nature is the ultimate inspiration for creating fine art or for creating a decorative living environment.

Each of us is an active creator of our own uniqueness, which we can express in a home environment that is meaningful to us. However, as far as the art and science of it- well, let’s just say that “there is nothing new under the sun”.

Website Framed Art Decor is a great resource for viewing inspirational photographic prints of rainbows and other photographic subject. The work of hundreds of fine artists from over the centuries are available to view and purchase as high quality prints. Frames for art prints and photography can be viewed on each piece with just a click.

Leagh Janell is passionate about fine art and decorating. His 30 years as a fine artist and decorative artist for a high profile clientele have afforded him some authority in those fields. At present, Mr. Janell writes for