![]() If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot ( spolvero) banged on them to produce black dots along the lines. Later, new techniques for transferring paper drawings to the wall were developed. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. setting of the lime plaster: Ca(OH) 2 + CO 2 → CaCO 3 + H 2OĪ Roman fresco of a young man from the Villa di Arianna, Stabiae, 1st century AD.slaking of quicklime: CaO + H 2O → Ca(OH) 2.calcination of limestone in a lime kiln: CaCO 3 → CaO + CO 2.The pigment is absorbed by the wet plaster after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. ![]() Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. Detail of two dancers from the Tomb of the Triclinium in the Necropolis of Monterozzi 470 BC, Tarquinia, Lazio, Italyīuon fresco pigment is mixed with room temperature water and is used on a thin layer of wet, fresh plaster, called the intonaco (after the Italian word for plaster). Even in apparently Buon fresco technology, the use of supplementary organic materials was widespread, if underrecognized. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster. The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. The word fresco ( Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The Creation of Adam, a detail of the fresco Sistine Chapel ceiling by Michelangeloįresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. For other uses, see Fresco (disambiguation).
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