The Gambier Parry process is a development of the classical technique of fresco for painting murals, named for Thomas Gambier Parry.
True fresco is the technique of painting on fresh lime plaster whereby the pigments are fixed by the carbonatation of the lime (calcium hydroxide). The technique requires no other binding medium and the fixing process produces a durable crystalline paint layer. However, only a limited range of pigments are suitable for true frescoes and the technique requires careful application under controlled conditions, and relatively low humidity thereafter. In some environments, conventional fresco colours can rapidly accumulate dirt and grime. The decoration of the new Houses of Parliament in the mid-nineteenth century saw an embarrassing failure of true fresco in England but had generated a revival in mural painting.
Gambier Parry developed a spirit medium for use on a specially prepared plaster or canvas ground and in 1862 he published his recipe. Originally it used beeswax, oil of spike lavender, spirits of turpentine, elemi resin and copal varnish, and was complex both in preparing the wall surface and applying the paint.With commercialisation the process was simplified and became widely known.
The system was used by Frederic Leighton for The Arts of Industry as Applied to War and The Arts of Industry as Applied to Peace at the Victoria & Albert Museum (1870-72)and by Ford Madox Brown on the Manchester Murals in Manchester Town Hall (1879-93). One of the most complete examples of the Gambier Parry process may be seen at St Leonard's Church, Newland, Worcestershire where frescoes cover the interior of the church; St Leonard's is the private chapel of the Beauchamp Almshouses.
Fresco is a technique of mural painting executed upon freshly laid, or wet lime plaster. 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 word fresco 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. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent surfaces. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Thomas Gambier Parry, J.P., D.L., was a British artist and art collector. He is best remembered for his development of the Gambier Parry process of fresco painting, and for forming the significant collection of early Italian paintings and objects that his heirs gave to the Courtauld Institute of Art in London, where many are displayed in the Courtauld Gallery.
Stucco or render is a construction material made of aggregates, a binder, and water. Stucco is applied wet and hardens to a very dense solid. It is used as a decorative coating for walls and ceilings, and as a sculptural and artistic material in architecture. Stucco may be used to cover less visually appealing construction materials, such as metal, concrete, cinder block, or clay brick and adobe.
Kerala mural paintings are the frescos depicting Hindu mythology and legends, which are drawn on the walls of temples and churches in South India, principally in Kerala. Ancient temples and palaces in Kerala, South India, display an abounding tradition of mural paintings mostly dating back between the 9th to 12th centuries CE when this form of art enjoyed Royal patronage. These days even Churches in Kerala are commissioning mural paintings with Christian motifs.
Fresco-secco is a wall painting technique where pigments mixed with an organic binder and/or lime are applied onto a dry plaster. The paints used can e.g. be casein paint, tempera, oil paint, silicate mineral paint. If the pigments are mixed with lime water or lime milk and applied to a dry plaster the technique is called lime secco painting. The secco technique contrasts with the fresco technique, where the painting is executed on a layer of wet plaster.
Sinopia is a dark reddish-brown natural earth pigment, whose reddish colour comes from hematite, a dehydrated form of iron oxide. It was widely used in Classical Antiquity and the Middle Ages for painting, and during the Renaissance it was often used on the rough initial layer of plaster for the underdrawing for a fresco. The word came to be used both for the pigment and for the preparatory drawing itself, which may be revealed when a fresco is stripped from its wall for transfer.
Sittanavasal Cave is a 2nd-century Jain complex of caves in Sittanavasal village in Pudukottai district of Tamil Nadu, India. Its name is a distorted form of Sit-tan-na-va-yil, a Tamil word which means "the abode of great saints".
The Brumidi Corridors are the vaulted, ornately decorated corridors on the first floor of the Senate wing in the United States Capitol.
The Manchester Murals are a series of twelve paintings by Ford Madox Brown in the Great Hall of Manchester Town Hall and are based on the history of Manchester. Following the success of Brown's painting Work he was commissioned to paint six murals for its Great Hall. Another six murals were to be completed by Frederic Shields who later withdrew, leaving Brown to complete all twelve works. The murals were begun in 1879, towards the end of Brown's career, but were not completed until 1893, the year he died. During this period he moved from London to Manchester with his family, first living in Crumpsall and then Victoria Park.
Faux painting or faux finishing are terms used to describe decorative paint finishes that replicate the appearance of materials such as marble, wood or stone. The term comes from the French word faux, meaning false, as these techniques started as a form of replicating materials such as marble and wood with paint, but has subsequently come to encompass many other decorative finishes for walls and furniture including simulating recognisable textures and surfaces.
Intonaco is an Italian term for the final, very thin layer of plaster on which a fresco is painted. The plaster is painted while still wet, in order to allow the pigment to penetrate into the intonaco itself. An earlier layer, called arriccio, is laid slightly coarsely to provide a key for the intonaco, and must be allowed to dry, usually for some days, before the final very thin layer is applied and painted on. In Italian the term intonaco is also used much more generally for normal plaster or mortar wall-coatings in buildings.
The Buon fresco, Italian for true fresh, is a fresco painting technique in which alkaline-resistant pigments, ground in water, are applied to wet plaster.
Giornata is an art term, originating from an Italian word which means "a day's work." The term is used in Buon fresco mural painting and describes how much painting can be done in a single day of work. This amount is based on the artist’s past experience of how much they can paint in the many hours available while the plaster remains wet and the pigment is able to adhere to the wall.
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. The final work is also called a painting.
The Leighton Frescoes were commissioned in 1868 as the central feature of the elaborate decorations of the Victoria and Albert Museum's South Court. The artist of the two enormous works which each measure 10.7 metres across, was Frederic Leighton (1830–1896), one of the most important figures in the late Victorian art world. Leighton's work is remarkable for its command of large-scale design, brilliant technique, intellectual sophistication and skilful, often erotic depiction of the human body.
The region of Shekhawati in Rajasthan is remarkable for its wealth of mural paintings which adorn the walls of many buildings, including havelis.
Keim's process is a technique of fresco preparation and painting intended to maximize the lifetime of the finished work. The process, as reported in 1884 at the Royal Society of Arts in London, was created by chemist and craftsman Adolf Wilhelm Keim of Munich, as an improvement on the earlier stereochromy technique of Schlotthaner and Johann Nepomuk von Fuchs.
The conservation and restoration of frescoes is the process of caring for and maintaining frescos, and includes documentation, examination, research, and treatment to insure their long-term viability, when desired.
The conservation and restoration of Pompeian frescoes describes the activities, methods, and techniques that have historically and are currently being used to care for the preserved remains of the frescoes from the archeological site of Pompeii, Italy. The ancient city of Pompeii is famously known for its demise in A.D. 79 after the fatal eruption of Mount Vesuvius wiped out the population and buried the city beneath layers of compact lava material. In 1738, King Charles III or Charles of Bourbon, began explorations in Portici, Resina, Castellammare di Stabia, a Civita, where it was believed that the ancient cities of Pompeii, Stabiae, and Herculaneum were buried beneath. The first phase of the excavations at Pompeii started in 1748, which lead to the first conservation and restoration efforts of the frescoes since their burial, and in 1764, open-air excavations began at Pompeii. Pompeii has a long history of excavation and restoration that began without a strong foundation or strategy. After centuries of cronyism, recurring financial shortages, and on-again-off-again restoration, the city's frescoes and structures were left in poor condition. In 1997, Pompeii was added to the UNESCO List of World Heritage Sites.
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