He was elected a Royal Academician and produced the largest enamel paintings ever seen up to that time.

In 1789, he exhibited "A Muse and Cupid", the largest enamel painting ever executed up to that time.

The exhibition of eight black enamel paintings and 18 related drawings at the Gagosian Gallery may not resolve the debate.

In the enamel painting of love and rape, the book's relationship to the woman is particularly complex.

In the 18th century, enamel painting enjoyed a vogue in Europe, especially as a medium for portrait miniatures.

On completing his apprenticeship Grimaldi started life as a miniature-painter, working only in water-colours up to 1785, when he made some essays in enamel painting.

He does not appear to have done much in enamel painting, but confined himself almost exclusively to sacred, classic, and domestic subjects.

He was attracted by the Adelaide Festival and easy access to facilities for firing his vitreous enamel paintings on steel plates.

He published a paper on the art of enamel painting in June 1837, and also published some drawing-slates.

He excelled in enamel painting, and executed all the portraits which the king gave, set in jewels, to the foreign ambassadors.