The Fresco.







Art and Frescos. History of the Fresco in Art.

The Colour

The Composition

Tempera

Oil

Watercolour, Gouache, Pastel

The Fresco

The art of the stained glass

Creative craftsmen

Painting annealed glass

Restoration of the old stained glasses

Technical

 


To send this page to a friend

 Home  Newsletter Analysis  Movements  Painters  Kinds  Techniques  History   Museums  Exposures   Galleries   Artists    
Plays
  Advertisements  Shop  Contact us     Who are us? 
 Bonds  


The Fresco.

With the Rebirth, one codified the practice of the fresco, employed for the mural since Antiquity in various forms. The traditional principle consists in applying coloured pigments diluted to water to a coated wall of a fresh mortar composed of extinct lime. At the time of drying, the mortar absorbs the colors and thus fixes painting on the wall. The operation is carried out in several times. One coats initially the wall of a mixture called the arriccio and composed of two thirds of fine sand (or of stucco) and of a third of lime. By means of a commonplace (the sinopie), one defers on the wall, by the technique of the stencil key set, contours of the overall drawing. One divides then surface to paint in several sectors called the giornate (days) and corresponding each one to the daily capacity of work. Each morning, one applies a last coating, less thick, called the intonaco and composed for half of sand and half of lime. One can then extend above the colors while being informed beforehand the modifications which they will undergo in contact with lime. The pigments employed are grounds (dried lime, ground of His, cadmium, cobalt, etc.) and of the pigments of vegetable origin (calcined oak or pines, etc). In theory, when the coating is dry at the end of the day, it is not possible any more to intervene on painting, if not by means of dry painting.

The graffito constitutes a particular case of painting with fresco. It is of an everyday usage in paintings of external walls at the time modern, and, although it is particularly exposed with the bad weather, one preserves of it fort beautiful testimonys. It consists in covering with mortar the coloured layer. The required drawing appears after a scraping of certain parts. The constraints of this technique pushed the artists to seek intermediate solutions like the half-fresco, in which one can intervene after drying by means of diluted colors with the lime water. But, frequently, the painting which one calls today with fresco is only one simple painting with water, generally synthetic, on a dry coating.