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    Fresco Painting
    Fresco Painting
    Fresco Painting
    Ebook107 pages1 hour

    Fresco Painting

    By James Ward

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    About this ebook

    "Fresco Painting" is the work of British painter and artist James Ward. Ward endeavours in his treatise to place before students some practical hints in the methods and processes of fresco painting, which are the outcome of his experience in the practice of the "buon-fresco," and the "spirit-fresco" systems of wall decoration. He favors this technique over the stereochrome, or German "water-glass," and its later variety, the Keims process of fresco painting, having compared the visual effects of all these techniques. His book came at a time of condemnation of fresco painting by critics, and even by some eminent artists, all of whom seem to echo each other in pointing out the failures in the examples executed on the walls of the English Houses of Parliament and other places; and all agreed, because of these failures, that fresco painting was impossible in the country, owing to the dampness of the climate. He seeks to show that it is the artists' inexperience to blame instead.
    LanguageEnglish
    PublisherGood Press
    Release dateDec 16, 2019
    ISBN4064066166533
    Fresco Painting
    Author

    James Ward

    James Ward is the author of the Tales of MI7 series, as well as two volumes of poetry, a couple of philosophical works, some general fiction and a collection of ghost stories. His awards include the Oxford University Humanities Research Centre Philosophical Dialogues Prize, The Eire Writer’s Club Short Story Award, and the ‘Staffroom Monologue’ Award. His stories and essays have appeared in Falmer, Dark Tales and Comparative Criticism. He has an MA and a DPhil, both in Philosophy from Sussex University. He currently works as a secondary school teacher, and lives in East Sussex.

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      Book preview

      Fresco Painting - James Ward

      James Ward

      Fresco Painting

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4064066166533

      Table of Contents

      PREFACE

      CHAPTER I THE RELATIONSHIP OF MURAL PAINTING TO ARCHITECTURE

      CHAPTER II MURAL DECORATION—SYSTEMS AND METHODS

      CHAPTER III FRESCO-BUONO PROCESS—COLOURS—PREPARATION OF THE WALL—METHOD OF EXECUTION

      CHAPTER IV PAINTING OF FLESH AND DRAPERIES—PERMANENCE OF BUON-FRESCO

      CHAPTER V SPIRIT FRESCO PAINTING

      CHAPTER VII FRESCO PAINTINGS BY GOZZOLI AND PERUGINO

      CHAPTER VIII THE WORK OF PINTURICCHIO AND GHIRLANDAJO

      CHAPTER IX FRESCOS BY ANDREA DEL SARTO, LUINI, G. FERRARI, RAFFAELLE AND MICHAEL ANGELO

      INDEX

      PREFACE

      Table of Contents

      I

      have

      endeavoured in this treatise to place before students some practical hints in the methods and processes of fresco painting, which are the outcome of my experience in the practice of the buon-fresco, and the spirit-fresco systems of wall decoration. As to the stereochrome, or German water-glass, and its later variety, the Keims process of fresco painting, I do not pretend to have a definite knowledge, having no practical experience in painting in these methods, but, on seeing the condition of some frescos in England which have been executed in stereochromy, I should prefer to trust to the buon-fresco or to the spirit-fresco mediums when it is a question of the permanency of wall paintings.

      It is common enough to-day to hear and to read of the condemnation of fresco painting by critics, and even by some eminent artists, all of whom seem to echo each other in pointing out the failures in the examples executed on the walls of the Houses of Parliament and other places; and all agree, because of these failures, that fresco painting is impossible in this country, owing to the dampness of the climate. Our damp climate seems to have a deal to answer for, but it is hardly fair to blame it for the ignorance of some of our mid-Victorian artists as to the nature and behaviour of the materials used in fresco painting, and for their possibly limited knowledge of the chemistry of colours and the after action of caustic lime on the colours they used.

      I trust that the technical notes and observations on some of the Italian frescos may be of interest and of some value to students of decorative art.

      J. Ward.

      FRESCO PAINTING

      Table of Contents

      CHAPTER I

      THE RELATIONSHIP OF MURAL PAINTING TO ARCHITECTURE

      Table of Contents

      When

      considering the subject of mural painting, and indeed the progress and development of art generally, of the so-called fine arts, or of the lesser arts that minister to the uses and wants of everyday life, we cannot regard them as isolated creations of human activity apart from their legitimate connection with the laws and principles of good architecture. The progress, development, culmination, and decadence of architecture synchronize with the similar stages of painting and sculpture.

      In a noble building the special functions of the three sister arts are clearly defined; each supplies its own distinct qualities of expression to make up the general artistic unity. The severe lines and proportional rhythm of the architecture are enriched by sculpture, which in its turn is chastened and modified by the contiguous severity of the former, while painting adds the necessary colour finish to the bare spaces that are enclosed by the mouldings and constructional lines of the architecture, borrowing at the same time much of its dignity, restfulness of form, simplicity of composition, and whatever else that adds to its nobility and monumental fitness, from its close association with the architecture. Thus, while the three arts are each limited to their own special functions, they, at the same time, would appear to assimilate from each other what is lacking in themselves, and so contribute to the complete artistic harmony.

      Painting, as the most ornate of the three, owing to its greater power of expression and beauty of colour, must nevertheless be employed to decorate, in the true sense of the word, the plain spaces in a building, and in the largest and simplest manner, without any definite attempts to represent the true facts of nature, or at least it should be suggestive of such facts rather than descriptive of them.

      The arrangement and composition of line, restfulness of the masses of form, and the harmonic balance and purity of colour are among the primary essentials of mural painting, and all these indispensable requisites of this form of art are due to its contact with architecture. While bearing this in mind, we must not forget that painting has its special functions apart from those of architecture, which include a controlling power over form and colour, and the faculty of illustrating ideas, by means of the representation of a theme or an incident, a subject or a story.

      Now if the essentials of monumental painting, which we have named, and the special functions of the art of the painter are united in any scheme of mural decoration, the result would be an ideal work of decorative art, examples of which may be found in the frescos of Giotto, and in those of the majority of the Italian painters who followed him, down to the sublime creations of Michael Angelo.

      The older art of the Egyptian, Greek, Roman, Byzantine and Mediæval schools was, in each case, influenced by, and in perfect harmony

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