2. Preserving Culture
• Frescoes are located in several parts of the world
and hold important cultural content. They provide
education and understanding about our various
past histories.
• Frescoes have substantial longevity and therefore,
remain as a record for us to enjoy and learn from
today. But these historical paintings still need
protection and preservation, as they continue to be
subjected to a range of vulnerabilities including
open air deterioration and vandalism.
3. Background
• The three Fulbrights I received involved
photographing and archiving, preservation and
interpretation of the iconography of Medieval
and Renaissance frescoes.
• Through studies of frescoes from around the
globe including ancient cave arts came the
realization that these may be thought of as
the first frescoes—damp limestone cave walls
painted with natural mediums found in the earth.
4. Cultures Worldwide Make Frescoes
• African Frescoes—8,000-12,000 years ago--Tassili
• Egyptian Frescoes--secco (dry), 1539-1295 BC
• Minoan Frescoes--buon (wet) Crete, 2000 BC
• Indian Frescoes—buon, Ajanta cave frescoes, first century BC to
7th century AD –Buddhist period to present day Madhva
Pradesh.
• Sri Lanka – similar periods—rock paintings: Sigiriya
• Yucatan, Mexico-Mayan Frescoes—under water, 200-300 AD
• Ancient Rome and Greece—Estruscans, 9th-1st c. BC. Hellenists,
16th c. BC
• European Medieval and Renaissance –buon and secco, 300-
1600
(UNESCO)
5. • Frescoes also exist in Afghanistan, Iran,
Central Asia and Japan as well as other
locations.
• “Frescoes were painted in temples, mosques,
palaces and private residences.”
(Fresco Painting (Naqqashi)
6. Gilf Kebir – Swimmers: plateau of the
Sahara, in southwest Egypt--Libyan border
Neolithic, ab. 8,000 years ago (Bradshaw Foundation)
10. Patmos-Byzantine Orthodox
Monastery Frescoes, 10th c.
Monastery of St. John the Theologian: Greek island of Patmos.
Book of Revelation written ab. 100 AD by St. John
(Intrepid Travelogue)
11. Vitruvius—
First Century Roman Architect
Vitruvius wrote 10 books on architecture--De Architectura--30-
20 BCE; fresco making and painting
was covered in Book VII.
In 1486 (early Renaissance), it was republished, and had
great influence on the education of Renaissance architects,
artists and the public.
Leonardo da Vinci illustrated Vitruviun Man in 1492, showing the
measurements of the human body, based on the Greek
mathematical concepts of the circle and square. More modern
techniques evolved, some successfully—and some not.
Vitruvius, Book VII, c. III
12. The Western Medieval
and Renaissance Periods
• Though the zenith of western fresco making is
known by many to be from the European Medieval
and Renaissance periods, this technique of
wall painting has been a favorite medium through the
centuries globally, most likely as early as the Neolithic
period.
• More modern processes were introduced in the
1400s and are still in use today, with methods drawn
from Renaissance artists like Giotto, Vasari and
Michelangelo.
13. Bulgarian-American Commission
“In late June, the US Embassy in Bulgaria announced
the establishment of a bilateral Bulgarian-American
Commission for the preservation of Bulgaria’s cultural
heritage. Its main task will be to highlight the
importance of cultural heritage for the development of
tourism in this country and facilitate the exchange of
expertise between specialists from both countries.”
(Radio Bulgaria)
15. Other Current Projects
• UNESCO-World Heritage Centre provides
educational information and opportunities to
partner and support cultural projects.
•
• For more information:
• http://en.unesco.org/themes/protecting-our-heritage-and-
fostering-creativity
16. Making Frescoes
• There are a number of approaches and techniques for
making frescoes; the secco (dry) fresco method was used by
da Vinci on The Last Supper (Santa Maria delle Grazie church
in Milan, 1495-UNESCO)
500 years old, The Last Supper (secco) began deteriorating
soon after it’s completion in 1497.
• Secco (dry) is not as durable as buon (wet) fresco, employed
by artists like Michelangelo on the Sistine Chapel ceiling and
walls.
•
19. Fresco Techniques: Brief Overview
NOTE: the majority of cultures follow the same
basics:
• Making the lime plaster.
Troweling it onto walls and ceilings.
• Drawings rendered on butter paper or thin,
waxy paper (cartoon).
• Pouncing transfer (charcoal powder dusted
onto the pin-pricked line drawings, while held
against the intended fresco wall.
20. • Paint is applied using earthen minerals, plants,
rocks which are ground down into powders
and mixed with water. (Distilled is best.)
• Final coat of lime plaster must still be wet
(buon) when paint is applied.
• When dried, it is burnished and/or a wax
mixture is applied.
21. Variations to the Basics
• Ajanta Caves: Rock surfaces are prepped with a
coating of earth or cow dung mixed with straw
or animal hair for binding. A thin coat of
smooth lime plaster is then applied on top
before drawing and painting processes. (Fresco
Painting-Naqqashi)
• For secco (dry) plaster application, often egg
was mixed with the pigments--tempura.
22. • Michelangelo’s Special Techniques:
– Only used 7 color pigments derived from earth
and clay: earth green, ochres for yellows and
reds, cobalt or lapis lazuli for blues.
– Used white coating (mined from Melos) under the
color pigments to create more brilliance.
23. DEMONSTRATIONS
• Prepare the pigments.
• Prepare the buon (wet) plaster.
• Prepare the drawing for pouncing.
• Pounce the drawing to the plaster.
• Paint a series of pigment layers starting with
the Verdaccio (light and dark undertones).
• Let dry.
• Apply wax/oil coating.
31. I. Slaking: Mixing lime
with water and sand
• Calcium hydroxide + H20 + calcium carbonate =
a solid wall melded with the paint pigments
which can last thousands of years.
32. 12 x 12 inch Tile Backs-
Apply rough coat (arriccio) with trowel
35. Intonaco layered on top of the
Arriccio Coat (rough 1st coat)
Final Coat—smoothest--often a
mixture Of lime putty and marble dust
36. Make a group of rough coat (arriccio),
well dried, to keep on hand
37. Pounce Transfer
• When the plaster has dried to the correct buon
(damp) surface, transfer and painting must begin.
• But first, place the drawing on top of cardboard.
• Punch holes along the drawing lines with a pin.
• Hold against the buon plaster.
• Apply charcoal powder using pounce bag.
• Image dots (lines) will appear as a guide for the
painting.
43. Waxing and Burnishing
• Apply a blend of wax/oil.
• Burnish/polish with the side of a candle
until very smooth.
• Before waxing, you may rub in a thin
layer of umber or other brown coloration
to age.
44. What causes damage?
• Careless Preparation
• Too damp (building walls)
• Salt within the mixture (sand) or wind blowing
salt off the sea
• Neglect
• Poor fresco cleaning techniques
• Poor restoration attempts
45. Final Comments
• Frescoes are international in scope and visually teach the
stories of cultures worldwide for cross-cultural awareness
and understanding. They are also essential for transference
of culture from one generation to the next and, supports
advancement of knowledge for humankind.
• Frescoes keep a historical record of cultural heritage as they
can last for thousands of years if protected and cared for by
professionals in the field.
• Fresco information exchange builds bridges between
countries, as they share and collaborate government
entities and organizations like UNESCO and Fulbright.
