They call it a fresco. Fresco and fresco painting

Fresco Fresco

(from Italian fresco, literally - fresh), the technique of painting with paints (on clean or lime water) on fresh, damp plaster, which, when dried, forms a thin transparent film of calcium carbonate, fixing the paints and making the fresco durable; A fresco is also called a work made using this technique. Fresco, which allows you to create monumental compositions organically connected with architecture, is one of the main techniques of wall painting. Plaster primer for frescoes is usually applied in several layers and consists of slaked lime, mineral fillers (quartz sand, limestone powder, crushed brick or ceramics); sometimes organic additives are included in the soil (straw, hemp, flax, etc.). Fillers protect the plaster from cracking. For frescoes, paints that do not enter into chemical compounds with lime. The palette of the fresco is rather restrained; Mainly natural earth pigments (ochres, umbers), as well as mars, blue and green cobalt, etc., and less often paints of copper origin (cabbage cabbage, etc.) are used. Vegetable paints (indigo and cormorants), cinnabar, blue, and sometimes black paints are applied to already dried plaster using glue. The fresco allows you to use the tones in their full strength, but when drying the paints fade greatly. Glazes play an important role in the fresco, but when large quantities layers of paint, the color weakens and fades. In addition to the fresco itself, painting on dry plaster (a secco) has been known since ancient times.

Fresco was already common in Aegean art (2nd millennium BC); It achieved great growth in ancient artistic culture, where multi-layer polished primers with the addition of marble dust were used. From the first centuries of our era, paintings close to frescoes were created among the peoples of the East (in India, Central Asia and etc.). Ancient masters completed the fresco dry using tempera. This technique was also typical for medieval frescoes, which were developed in the art of Byzantium, Ancient Rus', Georgia, Serbia, Bulgaria, Italy, France, Germany and other European countries. The art of fresco experienced a new flourishing in creativity Italian masters Renaissance (Giotto, Masaccio, Piero della Francesca, Raphael, Michelangelo, etc.). From the 16th century in Italy, “pure” fresco (“buon fresco”) without the use of tempera spread; The top layer of soil (intonaco) in this type of fresco was applied only to the area that the painter expected to finish before it dried. The tradition of frescoes later lived on decorative paintings XVII-XVIII centuries In the 19th century The fresco was approached by the Nazarenes in Germany, as well as individual representatives of “modernism” (F. Hodler in Switzerland and others). Many progressive artists of the 20th century work in the fresco technique. (A. Borgonzoni in Italy, D. Rivera in Mexico, etc.).

In the USSR, a significant contribution to the popularization of frescoes was made by V. A. Favorsky, L. A. Bruni, N. M. Chernyshev and others.

Michelangelo. "The Delphic Sibyl" Fragment of the paintings on the ceiling of the Sistine Chapel in the Vatican. 1508 - 1512.

(Source: Popular art encyclopedia." Ed. Polevoy V.M.; M.: Publishing house " Soviet encyclopedia", 1986.)

(from Italian fresco - fresh, raw), view monumental painting . Paints are applied directly to the surface of the wall, ceiling, vault. The area occupied by the fresco and its composition depend on the architectural forms of the building. Usually interiors are decorated with frescoes; on the facades of buildings, where they may be exposed to harmful effects of moisture, they are placed much less frequently. Fresco includes several techniques: painting with water paints both on wet plaster (al fresco) and on dry plaster (a secco); painting with lime-casein and tempera paints.

Fresco is one of the most ancient painting techniques. Her true masterpieces are the paintings of the ancient Egyptian tombs in Medum, Beni Hasan and Thebes, the Knossos Palace on the island of Crete (2nd millennium BC), and the paintings of houses in Pompeii(2nd century BC – 1st century AD). IN early Christian art (wall paintings of the catacombs), in the Middle Ages fresco became one of the leading types of painting. Fresco paintings were widely used to decorate temples (in to a lesser extent– secular buildings) both in Eastern and Western Europe. Their placement on the walls, vaults, and supporting pillars of the temple followed a clear pattern and was associated with the symbolism of the temple. World Famous Byzantine frescoes Nerezi (Church of St. Panteleimon, 1164, Greece), Milesheva (Serbia, ca. 1245), paintings Feofan the Greek in the Church of the Transfiguration in Novgorod (1378), Andrei Rubleva in the Assumption Cathedral in Vladimir (1408), Dionysius in the cathedral of the Ferapontov Monastery (1502-03) in the Vologda region, paintings from the 17th century. in the churches of Yaroslavl. In Western Europe, fresco painting flourished in Romanesque art(paintings in the churches of Santa Maria and San Clemente in Taul, San Isidro in Leon, Spain; Berze-la-Ville, France; all - 12th century). During the Gothic era, frescoes were also created on secular themes (paintings of the Papal Palace in Avignon, France, 14th century).
In the era Renaissance It was in the fresco that innovative discoveries were made [paintings Giotto in the Scrovegni Chapel (del Arena), Padua, 14th century]. Frescoes are increasingly being created for secular and mythological stories(paintings by the brothers P. and A. Lorenzetti in the Palazzo Publico in Siena, 1337-39; A. Mantegna in the "Camera degli Sposi" in the Castle of San Giorgio, 1474; Raphael in the Vatican Palace, 1509-14; G.B. Rosso and F. Primaticcio in the palace Fontainebleau, 1530-40s). Highest achievements are also associated with church art (paintings Piero della Francesca in the Church of San Francesco in Arezzo, 1452-66; Michelangelo V Sistine Chapel at the Vatican, 1508-41; "The Last Supper" Leonardo da Vinci in the monastery of Santa Maria delle Grazie in Milan, 1495-98). In the era baroque special attention was paid to paintings lampshades, where with the help of illusionistic techniques, strong angles the effect of a breakthrough upward, opening heavens, and the rapid rise of figures of saints was created. Frescoes 18th century worn mainly decorative character(J.B. Tiepolo). In the era classicism Imitation of motifs from the paintings of ancient Pompeii is becoming fashionable. The fresco gained new popularity in the era modern.

(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)

See what “Fresco” is in other dictionaries:

fresco- and, f. fresque f. , German Fresco etc. al fresco. 1. A picture painted with water paints on wet plaster. BAS 1. 20th of this month protocol 1752 Her imp. The Majesty was presented.. by the architect Valeriani, composed... ... Historical Dictionary of Gallicisms of the Russian Language

Buon fresco, painting, painting Dictionary of Russian synonyms. fresco noun, number of synonyms: 3 buon fresco (1) ... Synonym dictionary

What is a fresco? Translated from Italian, the word fresco means “fresh”, “not dried out”. Essentially, this concept is related to unique art temple wall painting, special technique which requires the highest craftsmanship. The “fresco on the wall” technique is painting on raw affresco plaster. It is the opposite of asecco, painting on a dry surface. When plaster painted with frescoes dries, a thin film based on calcareous calcium is formed, which serves as a natural protection for the design. Thus, the image becomes literally eternal.

Variety of ways

Today, the “wall fresco” method is used to create images of a sacred nature inside the church, regardless of the technique or material with which the artist works. There are several methods that the master adheres to in his work. “The fresco on the ceiling” is the most difficult; it can only be painted while lying down.

There are technologies when a secondary additional painting is done on a finished, dried fresco with tempera, oil or acrylic paints. The most common fresco painting technique is the so-called buon fresco, which means "pure fresco". The first mention of this method contains a treatise by the Italian painter Cennino Cennini, who lived in the 15th century.

History of wall paintings

It is unknown when the first frescoes appeared; one can only assume that in the era Aegean culture, in the second millennium BC, similar images already existed in large numbers. The paints were applied to a primitive base reminiscent of casein glue, and the drawing technique defies any classification, it is only clear that it was closer to “asekko”. Fresco painting flourished in ancient period. Later, Christianity adopted this art, since it was the frescoes of the cathedral or church that most fully reflected biblical scenes.

Materials

What is a fresco from the point of view of the artist himself? It is, first of all, thin, jewelry work brushes Church frescoes are distinguished by the elaboration of the most small parts. An artist can paint one subject for weeks, sometimes it seems that the work stands still, so meticulous is the painter’s work. But when the fresco is finished, it is impossible to take your eyes off it.

In ancient times, mixed wall painting was in use in Rus'; the main material was water-based paints, which were applied to wet plaster and then supplemented with tempera on animal or vegetable glue, sometimes egg.

In Europe, people began to understand what fresco was with the beginning of the Renaissance. It was the church walls that became the main measure of the artist’s skill. The art of fresco painting reached its greatest flowering in Italy during the Renaissance. Great masters such as Michelangelo and Raphael worked in this field.

Antique frescoes

The treatises of Vitruvius describe the technology of plastering interior walls, on which fresco paintings were later applied. These were lime-based mixtures, applied in seven layers and smoothed to a shine. Sand was added to the first two layers, clay composite was added to the next three, and marble chips were added to the top two. To avoid cracks, the plaster was slightly diluted with water, and all layers were compacted.

For strength, reinforcing components, crushed brick, pumice, straw and hemp were added to the mixture. Multi-layer application of plaster contributed to slow drying, which gave the artist the opportunity to paint for a long time. Then, upon completion of the work, it was recommended to cover the frescoes with a mixture of olive oil and beeswax.

Byzantine frescoes

The most labor-intensive painting process is described in “Erminia Dionysius” in the 17th century. Frescoes in Byzantium were distinguished by their variety and size. The plaster dried before the work was done. The number of layers was gradually reduced, and eventually only two layers were used instead of seven. Instead of marble powder, flax and tow began to be introduced, which retained moisture well. The cracks were eliminated by adding quicklime. The earliest Byzantine fresco painting is in the Church of St. Mary in Rome. The surface of the drawings was polished, and later Byzantine artists abandoned this labor-intensive process.

Old Russian frescoes

Early Russian fresco painting was done in the Byzantine manner. Wet plaster was used for four days. The artists used this time to paint murals throughout the area. However, just in four days, the primer for the frescoes, gesso, acquired undesirable properties, and when paints were applied to it, it irreversibly spoiled them due to its reaction with turpentine fillers.

The painting time had to be sharply reduced. In the instructions of Bishop Nektary, it is recommended not to leave the gesso “without writing” for two hours and not to take breaks for lunch. And still, the completion of the work often coincided with the complete drying of the base. The last strokes were made with egg tempera, and already in the 18th century frescoes began to be painted with oil paints. It is characteristic that the frescoes of Rublev, a famous icon painter, as well as Theophan the Greek, his contemporary, were painted only with tempera paints.

Frescoes of Italian origin

What is a "buon" fresco? Literally it means "pure". In other words, this is a multi-layer application of paint layers with intermediate drying. This technique is advantageous in terms of speed, but it loses in the nuances of color solutions.

After some time, fresco painting became gradual. Dried works were painted over with tempera paints “dry”, and this technique was fully justified, since artists had the opportunity to divide their work into separate segments and slowly complete the work, knowing that the factor of quickly drying plaster no longer mattered.

"Clean" technique

Using the “buon” method, a whole system was developed, a kind of guide, according to which the artist achieved the optimal result. The entire fresco, if its size was at least two square meters, was divided into separate sections, the norms of one day, the so-called jornata. In addition, the work was planned according to height, so that when painting the upper areas it would not splash the lower ones. Some frescoes were created using other technologies. Since the 15th century, there was a so-called mosaic fresco, which was not painted, but laid out with small pieces of smalt or semi-precious stones.

Upon completion of painting, the fresco must be polished, often with the application of a wax layer. The paintings of Perugino and Giotto were always polished to a shine, which gave them a unique image. Tintoretto and Tiepolo worked in the same manner of fresco painting.

Fresco is painting with water paints on freshly applied, damp plaster. The paints used to apply the fresco are diluted with clean or lime water. When dry, the plaster forms a film that makes the fresco durable.

Nowadays, any fresco can be called wall painting depending on its technique: secco (dry painting), tempera, oil or acrylic painting, etc. To refer to the direct fresco technique, the term "Buon fresco" is sometimes used, which means "pure fresco".

It is known that the history of the appearance of frescoes goes back far into the past, namely in the period of the Aegean culture (2 thousand years BC), when fresco painting became widespread. This was explained by the availability of the materials used (lime, sand, colored minerals), the relative simplicity of the painting technique itself, and the durability of the works. All these factors determined the widespread and popularity of frescoes in those days. Most of all, fresco was used in Christian painting to decorate both the internal and external walls of stone temples.

The appearance of a fresco is due to a person’s desire to decorate his home, to make its walls or ceilings more original. The fresco developed simultaneously with the evolution of man.

In ancient times, there were several types of wall paintings, namely:

Religious; - paintings representing objects or any moments of life that have a symbolic meaning; - trompe l'oeil paintings, using the perspective of the play of light and shadow, presenting realistic images so that the viewer assumed that he was in front of a real object, and not a drawing.

Frescoes do not mean simple wall painting. This process requires lengthy preparation and the use of special technology. When making a fresco, quicklime and natural pigments are used, the use of which makes this painting not only unique, but also expensive. Development of frescoes in modern times allows the use of such expensive materials as granite and marble.

Painting walls on wet plaster is not only durable and immensely beautiful. The fresco has unique abilities: after a certain amount of time, the paint applied when painting the walls is slightly dissolved by the plaster, which is why the drawing acquires a transparent effect. However, this painting technique is very demanding in terms of skill level. Applying a design to a wet surface requires not only skills and talent, but a “light” and experienced hand.

Acrylic paints, etc.). To denote the direct technique of fresco, the name " buon fresco"or "pure fresco". This term first appeared in the treatise Italian artist Cennino Cennini (). Sometimes they paint on an already dry fresco with tempera.

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✪ Raphael, "School of Athens", fresco

Subtitles

 Before us is one of greatest paintings High Renaissance, one of those paintings that fully express the spirit of that era. - Yes. - This is Raphael’s fresco “The School of Athens”, which adorns one of the most luxurious rooms in the Vatican. In the Vatican Palace. The room is called "Stanza della Segnatura". Raphael worked on this fresco in 1509-1511. At the same time that Michelangelo painted the ceiling of the Sistine Chapel. - They probably knew each other. - For sure. This is awesome example of that how, during the High Renaissance, the Catholic world absorbed the traditions of antiquity, focusing on greatest minds classical tradition. Yes. I have always considered this to be a kind of embodiment of a humanistic dream. After all, they gathered here under one roof greatest scientists, mathematicians, philosophers and thinkers... - Ancient Greece. - Ancient Greece. And they all lived in different time, so this is definitely fiction. Fantasy, and quite inaccurate, to be honest. You said “under one roof.” Look at the roof - it's classical roman, not Greek architecture. - Right. - Rafael mixed everything up a bit here. Yes. And since we are talking about the architecture in this fresco, in many ways it was probably borrowed from Bramante, who was updating, or rather re-creating, St. Peter’s Cathedral during this period. Yes. He's nearby. Yes. St. Peter's Basilica is being rebuilt on the site of an ancient Roman basilica, and at the same time Michelangelo is painting the ceiling of the Sistine Chapel. - Which moment! - And Raphael creates frescoes in Stanza. "Stanza" is "room" and "Stanza della Segnatura" is "Signature Room". It was here that the Pope signed documents. - Yes. - We see here many figures and complex architecture. But with the help linear perspective and perpendiculars, the artist identifies two key figures. And that's not only central figures paintings, and in general the central figures of all Western philosophy, the Western worldview. - And science. - And science. We see two figures, effectively framed by small arches, and by the rest of the arches too. This is Plato and Aristotle - his student. Yes, and in some ways they represent two branches of Western thought. - Plato... - A figure in red and gray. Yes. He points up. Because he is interested in the world of ideas. Existing beyond the world of things. So he points up. There is a controversial opinion that there are 4 elements represented here. Plato is red, fire, gray - what the Greeks called “ether”. Both are immaterial elements. And Aristotle on the other hand? - Aristotle... - Points down. Yes, that's right. On the material, physical, visible, real. This was precisely the main subject of his philosophy. What can we see? How to understand the visible world using our senses? And not the invisible world that interested Plato. Of course he's wearing blue and brown clothes- a symbol of water and earth, physical elements experiencing gravity. Right. Our perception of the world is divided into two parts. On the one hand, we see and experience the world through our senses. On the other hand, we reflect on it, accumulate knowledge and understanding that that there is something higher, ideal and divine. Plato basically described this in the language of mathematics. Interesting. It turns out that the picture reflects a balance between these two aspects. - Yes. - And the expression turned out beautiful, harmonious. If you look closely, all the figures here are organized and divided into two schools of philosophical thought. Yes. On Plato's side are mathematicians. Philosophers who think about ideas abstracted from the physical world, they... And do not try to explain reality. Yes, that's right. They are on the right, on the side of Aristotle, those who can be called scientists. Maybe we should name some figures and discuss them? Of course. But let's say a few words about architecture. - Yes, sure. - In my opinion, the architecture here is also dual. She is very majestic, simply incredible. I would say, even too much. Architectural elements very high, all these round arches, classical statues and niches on the sides... - By the way, I want to say that they also manifest a certain... - Duality. Yes, the dualism we are talking about. On Plato's side we see Apollo. God of poetry and music. Yes. And on Aristotle’s side, Athena is war and wisdom. - More real... - Yes, a much more earthly figure. Yes. I wanted to say that architecture seems to lift and ennoble figures. Creates context, as in Leonardo da Vinci's fresco "The Last Supper". There, architecture interacts with figures, helping to convey the plot and its meaning. Here, I think, architecture also plays an important role. If the space were different, the figures would be perceived differently. Here architecture exalts them, proclaims the achievements of reason. This is a real celebration. The whole picture marks the triumph of human achievement. The thought of the incredible human capabilities, capable of equaling the gods in creativity. Isn't this the quintessence of the High Renaissance? Exactly. I think it's also important that there are so many figures in this painting. Personal achievement of Raphael. - So interesting. - There are dozens of characters, and the composition is very complex, and not a single figure is repeated. At the same time, everything looks alive and natural, as if Raphael did not have to make any effort to paint the picture. Here complexity is combined with... With the lightness of an artist's brush. None of the artists managed to compare with Raphael in this. - Yes. - Everything looks natural and simple. As if it simply couldn’t be any other way. This is the ease of a great ballerina. You look, and there is no feeling that she rehearsed for hours. Yes. But I would like to return to something that you mentioned recently. One important point: Why was it necessary to bring all these figures together? It is very interesting. The revival returned to this from time to time. Remember at least one of most important texts era, although this is still a proto-Renaissance, but the roots of the Renaissance are precisely in “ Divine Comedy» Dante. At the very beginning of Inferno we are taken to Limbo and there we meet some of the great Greeks. This idea was revolutionary. The idea of ​​restoring the dignity of the Greeks, on whom medieval tradition looked with contempt. But here, on the contrary, they are glorified. What a sharp turn. Yes, that is right. But the church will not allow this to last long. Yes, the period is already running out. The Reformation is about to begin. Well, let's look at the main figures. Fine. Let's start on the left, from the top. Certainly. Although let's start with the large figure closer to the center. This is the most massive figure in the picture. - Seated figure. - Yes. A man in heavy work boots bent over and, lost in thought, wrote something. It's interesting. Yes, and he also slightly turned his torso. This figure depicts the ancient Greek philosopher Heraclitus. He is best known for his argument that time is constantly in motion. Wasn't he the one who said that you can't step into the same river twice? Yes, that's exactly what he said. He compared life to fire, which never repeats itself, and said that the world is infinitely diverse. Of course, Raphael did not know what Heraclitus really looked like, and asked his friend to work as a model. This acquaintance was Michelangelo. Yes. But instead of simply painting the image of Heraclitus from him, Raphael tried to adopt his style. He painted his figure the way Michelangelo depicted the prophets and sibyls - with monumental seated figures. Raphael seems to challenge him and say: “Oh, so? Well, I can paint beautiful seated figures too.” Yes, as massive and majestic as in Michelangelo’s paintings. Most of the other figures in Raphael's painting are painted much more refined. But Michelangelo's figure is massive and powerful. - In the spirit of Michelangelo himself. - Amazing, right? Almost a parody. And what’s interesting is that Heraclitus is depicted here writing a letter. So Raphael reminds us that Michelangelo is also a poet. Right. Let's now talk about my favorite figure, in the lower left corner. - With a bald head? - With a bald head. - And a beard. - And with a beard. This is Pythagoras. We remember him by school lessons geometry. a^2 + b^2 = c^2 - this is the Pythagorean theorem. But his ideas were a whole philosophical school. Yes. Pythagoras compiled several diagrams explaining the connection of harmony with music and numbers and the fact that harmony is based on a mathematical structure. A rational structure that can be studied and even measured. - Yes. - Yes, that’s right, Pythagoras is known for his work “Harmony of the Spheres”, a link to which we see here. In this lost, most important ancient text, Pythagoras set his main question- what beauty is. Of course, this question was extremely important for Raphael himself. Right. What is beauty? How does it relate to harmony and does it have... - Divine source. - Yes, a certain basis, the internal structure of the universe, which... In a word, beauty is a manifestation of... - Divinity. - Or something created by God. The High Renaissance is characterized by the idea that admiring beauty is also admiring divine creation. And, of course, we see Pythagoras on Plato's side. - This is natural. - After all, the ideas are absolutely neoplatonic. - In many ways, yes. - Let's move to the right now? - To Euclid? - Here we see scientists - people who are trying to understand the world and its basic structures. Right? Yes, and formulate them. Aristotle named four elements, and Euclid laid the foundations of geometry: point, line, Euclidean axioms. Yes. Almost all the geometry we teach is... - His merit. - Yes, in high school Euclidean, of course. - Yes. - Here, by the way, he teaches others. Another important detail for this painting and characteristic of the High Renaissance is the interaction of the figures. Look, everyone here is communicating and gesticulating. There is no feeling of constriction, all groups are active... - Dynamic. - It seems that people are just walking, talking, having a good time. This is a forum! But how difficult it was to create these numerous groups. Raphael created a real dance. Amazing piece. - Of course, the artist also depicted himself. - Yes. - He's among the astronomers in the lower right corner. - Looks out. -Looks straight at us. - Yes. Subtitles by the Amara.org community

Story

Exact date The appearance of frescoes is unknown, but already during the period of Aegean culture (2nd millennium BC), fresco painting became widespread. This was painting with paints, where glue or casein was used as a binder, and the technique itself was close to “a secco”. The availability of raw materials (lime, sand, colored minerals), the relative simplicity of the painting technique, as well as the durability of the works led to the great popularity of fresco paintings in the ancient world. In Christian art, fresco has become a favorite way to decorate the internal and (less often) external walls of a stone temple.

Byzantium

The rules of ancient Byzantine fresco painting are described in “Erminia Dionysius Furnoagrafiot” by the icon painter Dionysius (XVII century). The scale of wall paintings carried out in Byzantium required an increase in the time of work using fresh mortar. The number of layers of plaster was reduced to two; instead of crushed marble, straw was introduced into the solution for the lower layers, and flax or tow for the upper layers, which retained moisture well. Keeping slaked lime for the solution in air for a certain amount of time helped to avoid cracks. The top layer of plaster was applied immediately to the entire area to be painted. The earliest example of Byzantine fresco painting (500-850 AD) survives in the Roman church of Santa Maria. The surface of this painting was polished in the same way as that of ancient Roman frescoes; later Byzantine artists abandoned this technique.

Ancient Rus'. Russia

Initially, Old Russian painters adhered to the fresco technique adopted in Byzantium. The plaster (gesso) applied to the wall was suitable for writing on wet surfaces for several days. This circumstance made it possible to apply the solution immediately to the entire area intended for painting. Later, the recipe for gesso changed: in 1599, Bishop Nektarios, a Greek artist who remained to live in Rus', in his instruction “Typik” advises not to leave the soil on the wall “without writing” for the night or even a lunch break. Lime for gesso was intensively washed with water to remove calcium oxide hydrate (the so-called “emchuga”), which, appearing on the finished fresco, irrevocably spoiled the painting. With this treatment, the ability of lime to fix paints was reduced, and therefore the time for writing on wet paint was reduced. A similar system for preparing lime is described in Palomino's work on fresco techniques. Old Russian wall paintings were always completed dry, with paints where the binders were either egg yolk or vegetable glues. Later paintings were done entirely with egg tempera, which was replaced in the 18th century by those completely unsuitable for wall painting. oil paints.

Italian fresco

Italian wall painting, like everything else art, for a long time followed Byzantine models, only at the end of the 13th century did it begin to gain independence.

The pure fresco technique was first described in 1447 by Cennino Cennini. One of the first cycles executed in this technique, art historians consider scenes with Isaac in the Church of San Francesco in Assisi (c. 1295), previously attributed to an unknown master, later they became attributed as the work of Giotto. The technique of pure fresco is inferior in speed compared to secco painting, but surpasses it in the richness of color nuances, since paints applied to wet plaster are fixed quite quickly; the artist has the opportunity to paint using glazes without fear of blurring the already applied paint layer. Compared to secco, raw painting is much more durable. The disadvantages of fresco include the relatively small number of paints known in the times of the old masters that were suitable for this type of painting.

After making the final decision on the composition of the painting and completing the sketch, cardboard was made. The drawing on it reproduced in all details the artist’s plan on the scale of the future painting. At large sizes the painting surface was divided into sections - daily norms, in Italy they are called jornats. The division was made along the contours of the details of the composition, often in the area dark color so that the seam separating the sections made in different days(vulta), was inconspicuous. The contours were transferred to the preparatory layer of plaster either using cut pieces of cardboard, or to preserve the cardboard using tracing paper removed from it with a mesh applied over it. The design was applied with gunpowder through punctures in tracing paper using charcoal powder, ocher powder, or by pressing. The lines of the preliminary drawing were most often enhanced with sanguine. A layer of lime plaster was applied to the drawing, starting from the top of the wall, in order to avoid drips and splashes of the solution from the lower part of the painting, intonako, he signed within one day. The thickness of the intonaco applied over the three lower preparatory layers of plaster varied from 3 to 5 millimeters. According to Cennini's description, intonaco was applied to plaster moistened with water and carefully smoothed.

Working on wet plaster, the so-called “ripe mortar”, which sets in ten minutes, is quite labor-intensive and requires skill and experience: as soon as the brush, which had been sliding easily before, begins to “harrow” the base and “spread” the paint, painting stops, since the paint layer will no longer penetrate deeply into the base and will not adhere. The layer of plaster that remains unwritten is cut obliquely outwards, new part plastered to the previous layer. In fresco painting, only minor corrections are possible; it cannot be remade: bad places are simply knocked down and the painting process is repeated. When starting work, the artist must imagine what the colors he used will become after final drying (after 7 - 10 days). Usually they are greatly lightened; in order to understand how they will look after drying, the paints are applied to a material with strong absorbency (loose paper, chalk, plaster, umber). During the day the artist paints 3-4 square meters walls. Details were painted in dry tempera until the beginning of the 16th century. Some colors (bright greens and blues) were applied dry, since a limited number of pigments were suitable for painting on wet plaster. Upon completion of the painting, its surface is ground, sometimes polished with the application of a soap solution with wax. A similar treatment of the plaster surface was described by Leon Battista Alberti; it is possible that the old masters used it after finishing work on the fresco. Paintings by artists ranging from Giotto to Perugino have a characteristic polished surface, and later the surface of the painting became unevenly shiny - areas with images of characters’ faces were given a stronger gloss.

Since the beginning of the 16th century, fresco painting in dry tempera has almost never been used; from this moment the period of dominance of pure fresco begins ( buon fresco). All the artists of the High Renaissance worked in this manner, including Raphael, Michelangelo, and later Vasari, Tintoretto, Luca Giordano and Tiepolo. The design features of buildings erected at this time led to a decrease in the thickness of the plaster; the number of layers applied was reduced from three to two. The surface of fresco paintings becomes matte and rough. Judging by the manual written by Andrea Pozzo Art, 1949. - 220 p. - 5,000 copies.