Society of Gilders
Contemporary Art Center
New Orleans Art Association
Ogden Museum of Southern Art
The artist traveled for many years along the east coast, on a bicycle in search of a suitable location in the hopes of practicing, and sharing his talent of painting on the back of glass. In August 1988, Raymond Brown happened upon New Orleans French Quarter district.
Ray-Ray, as most knew him then, was in search of a resting place to hang his hat. He was influenced and in a we by all the happening and outstanding historical beauties within his view in New Orleans. His integration in city life brought on a significant artist inspiration.
He began painting on glass in what is called reverse-glass painting traditionally known as “verre-eglomise”. His soon found that this form of art is done by few artist, especially in the South and seen to become a long lost art form. A few years later his art prevailed.
Following the advice of John W. Keefe, Curator of Decorative Arts “New Orleans Museum of Art", Peggy McDowell, Professor of Fine Art “University of New Orleans”, and Reginé S. Boucard, International Art Curator. The artist believes he styles his glass art painting motifs from master artist’s such as Picasso, Monet, and Van Gough.
This artist has been tutored by Betty Edwards “University of New Orleans”, J. Renée “Ogden Museum of Southern Art”, Gary Oaks “New Orleans Center for Creative Art”. Ray Brown is a member of the Contemporary Art Center, The Ogden Musuem of Southern Art, New Orleans Museum of Art,
The Society of Gilders, and The National Art Education Association, The New Orleans Art Association,. Ray Brown is now encouraged to joyfully paint what he sees and not what he thinks he sees, creating depth, when adding bright colors.
The New Orleans Museum of Art now has the only reverse glass painting in their collection. Ray Brown is considered very talented placing simple artist materials onto the back of glass in a way that assists the motif to gleam. His artist talent has adapted to both traditional and contemporary themes providing a beautiful visual experience to and old art technique.
Verre-eglomise is named after jean-Baptist Glomy, a French 18th Century frame maker to Louis XVII, who used the technique extensively to decorate Mirrors and Trudeau for Marie-Antoinette. Although the finest work was carried out in the 17th and 18th centuries, is much older, with early examples of E’glomise’ glass decorated bowls from a tomb in Italy, dating from the third century B.C...
E’gloise’ glass is: metal leafing, on their own or in combination, applied to the underside of a sheet of glass. At it’s simplest a single or double line of gold leaf was laid on the glass, protected by a layer of black paint. This technique is still employed today for traditional prints. At its most intricate complicated and elaborate designs can be achieved.
New Orleans Museum of Art
National Art Education Association
Raymond T. Brown