ARTH 214 Lecture Notes - Lecture 3: Efflorescence, Andrea Mantegna, Santa Croce, Florence
27 Sep 2016
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The making of early renaissance art and its survival (cont. ) Slaked lime plaster, applied to wall support in two layers: first rough layer (arriccio), second smooth layer (intonaco) Earth pigments ground finely in water, then used in water medium. Mineral pigments like the blue, azurite, had to be applied after plaster had dried (it. a secco) over an under-paint in earth pigments in fresco (here red earth for virgin"s mantle) Carbonation: as lime plaster dries, paint layer fused to plaster ground in chemical process. E. x: giotto, ascension of st. john the evangelist peruzzi chapel, church of santa croce, florence, c. A secco wall-painting on dry lime-plaster using pontate system (it. ponte means scaffolding. Much of the paint surface is lost because paint layer did not fuse with plaster as it does in true fresco. Andrea del castagno, crucifixion, refectory of sant"apollonia, florence, 1447. Fresco and sinopia (under-drawing in sinoper or red earth pigment)
