Choosing exactly which oil paintings are right for however can be fairly difficult and the wrong choice can stand out like a sore thumb. The idea here again is to go things that won’t date, as well as things that say something about you personally. And of course they have to match with your colour scheme.

Fortunately there are a couple of options you can be sure won’t date. Ironically one of the best ways is to pick artwork that’s already dated. The reason this works is that people will (hopefully) know that it was dated when you bought it, meaning that you consciously decided on it rather than just failing to keep up with the times. Picking something retro or geek-chic can even be ironic in this sense, and getting an oil painting of a Star Wars character or Nightrider can be great for someone young and a bit alternative. In the same way paintings of anything or anyone iconic, such as Mohamed Ali, Elvis or Marilyn Munroe can give your room a hint of character and a spot of retro chic.

Of course this won’t be to everyone’s taste, but if you go further back you’ll start getting into more classic territory. While it’s unlikely that you’ll be unable to afford an original piece of old artwork, getting reproductions of your favourite well-known oil paintings can make a mature and cultured centre piece for your dining room.

If you want something that will draw less attention to itself however then a landscape can make a much more subtle addition to your walls and can also make the room feel more spacious. Though these are more ‘standard’ you can still choose something that reflects your personality as well as the ‘temperature’ of the room. If you have lots of mahogany for example you might choose an autumn scene, whereas a brighter more modern room might benefit from a beach with a palm tree.

Another option that demands less attention but won’t be to everyone’s tastes is to choose something abstract. This can be modern art or just attractive shapes and again the secret is to go for a design that appeals to you personally and fits the tone of the room. Some abstract art can be a little surreal and edgy however which may not be appropriate for more relaxing rooms unless you want to psyche out your guests.

So there are countless options when picking oil paintings and each can offer something different to the decor; it’s just picking the right one for you and your room.

Paintings have been framed ever since the portable image was invented, i.e. since imagery ceased being permanently fixed into or unto the wall and became mobile, hung according to the whim of the owner. The frame was a natural substitute for the architectural background of the fresco or secco mural. It is definitely the frame that gives to painting its known window effect, inviting us to peep into a different reality. In fact it is such a natural accompaniment to painting that the sudden absence of framing gave in itself to modern painting an important and surprising new dimension. The success of framing lies in its discretion. A frame well-chosen blends with the painting; it enhances, supports and serves the framed object and doesn’t steal the show. Bear in mind that our perception of the elaborateness of a frame is relative to the epoch; even the most exuberant frames in history were seldom exaggerated; they just adequately framed exuberant paintings. In regard to the object, the frame should always be subdued in design and color.

Period framing is always to prefer and in most cases the one that was initially conceived to go with the art. If your painting has lost its original frame, or if the latter is in an irreparable state, look for period replacement and do not frame against the style. A dark painting takes a dark frame, a light painting a light frame. A large frame should be less elaborated in ornament than a thin frame. The colour is best in some way assorted and will either reflect the basic tonal value or contrast with an appropriate counter-value. Ornament and elaboration is period dependent and should be considered in relation to the plastic contents of the painting. This sounds all simple and evident and yet many paintings are literally obliterated by insensitive framing. As the frame is an inherent part of traditional painting, we should train ourselves to be better aware of its effects on the art it should serve.