Above: Diagram of a glass painting setup (Artist: E.G.Lutz, from his 1927 book The Motion Picture Cameraman)
Below: A behind-the-scenes photo showing a glass-shot setup for Slander the Woman (1923). This shot establishes the ice skaters on a frozen lake with the glass painting finishing off the mountains and lodge above their heads (via)
The Motorist (1906, R.W. Paul) (via), a silent comedy short about a couple who exceed the speed limit and fly off the face of the Earth into outer space whilst fleeing the police. Motoring through the solar system, their car touches down on the sun and goes for a spin around Saturn’s rings.
Above, the bell ringing scene in Black Narcissus (1947, dir. Michael Powell & Emeric Pressburger) as shot on the studio lot; below, the final scene with the addition of Walter Percer Day’s glass matte painting of the Himalayas.
Above: The partial set from Citizen Kane consists of a foreground doorway and the butler (Paul Stewart), while Kane (Orson Welles) stands on a distant soundstage floor.
Below: The final, deep-focus image was completed with a matte painting by Chesley Bonestell. The live-action elements of the doorway in the foreground and Kane in the background were optically composited with a painted hallway, columns, and floor. The distant reflection of Kane on the floor was painted as well.