1001 Lecture 1 rev RWM 2 12-1

1001 Lecture 1 rev RWM 2 12-1

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Unformatted text preview: Italian word for “fresh”; True Fresco MUST be painted on fresh, wet plaster Fresco Painting (Buon Fresco) Fresco Painting (Buon Fresco) Giotto di Bondone, Lamentation, Arena Chapel, Padua, ca. 1305, fresco Part of the wall decorations consisting of a larger cycle of panels decorating a small chapel Example of a buon fresco or True Fresco technique: painting is consubstantial with the wall on which it is painted Color pigments are diluted in water, then applied to a freshly plastered wall Pigments soak deep into the plaster while it is still wet; lime in plaster becomes a binder Rapid execution, working in segments is necessary; technique best for covering large wall spaces Fresco Painting (Buon Fresco) Fresco Painting (Buon Fresco) Giandomenico Tiepolo, Il mondo nuovo, 1791, fresco (right: detail) A later example of Venetian fresco painting (buon fresco) Notice visible parts of the wall in the damaged parts (detail to the right) Experiencedrestorers know how to detach frescoes from walls, but inevitably there is damage to the work Fresco (Fresco Secco) Fresco (Fresco Secco) Diego Rivera, Detroit Industry, 1932­ 33, fresco • Rivera was a famous Mexican muralist active during the Depression era; working­class imagery influenced by Rivera’s Communist sympathies Example of a Fresco Secco or Dry Fresco, painted on finished, dried lime­plaster walls (see also Allen Hall frescoes on LSU campus, detail, left) Tempera Tempera paint (traditionally: egg tempera) has as its ingredients: Powdered pigment Binder = egg yolk Thinner = water For all intents and purposes, tempera painting “behaves” like a watercolor Pioneered by Flemish painters (Flanders=Northern Belgium) Tempera Tempera Fra Filippo Lippi, Madonna and Child, ca. 1440­1445, tempera on board • Color pigments mixed with egg yolk • About as old as the encaustic technique Gérard Willemenot, Chikungunia, 2005, tempera on board Oil on Canvas Oil paint has as its ingredients: Powdered pigment Binder = linseed oil Thinner = turpentine (a sap from a pine tree) First used in the 15th century (the Renaissance) First artist to explore technique: Flemish painter Jan van Eyck, but the Italians perfect it and use it extensively Texture of canvas, consistency of paint can greatly influence the character of a painting Oil on Canvas Oil on Canvas Recto (front) Oil on Canvas Oil on Canvas Recto (front) Verso (back) showing stretcher, canvas, inscriptions (signature, title, date), labels Oil Glazes Oil Glazes Jan van Eyck, Madonna and Child with the Chancellor Rolin, ca. 1433­1434, oil and tempera on panel Glazes: Thin, transparent layers of paint that are built up on the surface of a painting Jewel­like surface quality Extremely smooth surfaces Time­consuming technique Ever since the Renaissance associated with the Flemish tradition of painting (Flanders=Dutch­speaking, northern part of Belgium); van Eyck a good representative of this Impasto Paint Impasto Paint Vincent Van Gogh, Detail of Starry Night, 1889, oil on canvas Impasto Italian expression me...
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This note was uploaded on 02/12/2013 for the course ART 1001 taught by Professor Zucker during the Spring '07 term at LSU.

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