The fresco wall painting techniques in the Mediterranean area from Antiquity to the present: A review

Jiménez-Desmond, D.; Pozo-Antonio, J.S.; Arizzi, A.

doi:10.1016/j.culher.2023.11.018

Cited by 4 publications

(4 citation statements)

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“…Historically, several materials have been used for this purpose, from lime to organic substances of different kinds (e.g., egg, animal glues, casein, oil, etc.) [13,40]. However, in As far as painting techniques are concerned, Almada seems to have combined fresco and secco techniques; however, identifying the binders is not as straightforward due to past interventions, which used materials that may be similar to the original ones employed by the artist in 1949 (e.g., PVA and oil paints).…”

Section: Paint Execution and Composition Of The Paint Layersmentioning

confidence: 99%

“…The presence of lime in the nine samples analyzed was confirmed by µ-FTIR results that identified calcium carbonate in all the paint layers and by the elemental distribution maps of Ca in SEM-EDS analysis (Table 2). From the elemental distribution maps, it can also be seen that Ca was used as a binder when it is found in the composition of the matrix surrounding the pigment particles, but also as a white pigment and as an aggregate when identified in lumps (or grains) in the paint layer (Figures 5,10,11,and 13).…”

Section: Paint Execution and Composition Of The Paint Layersmentioning

confidence: 99%

“…Historically, several materials have been used for this purpose, from lime to organic substances of different kinds (e.g., egg, animal glues, casein, oil, etc.) [13,40]. However, in the official list of materials to be used in the field provided by Almada Negreiros in 1947, only lime and earth pigments are mentioned [41].…”

Section: Paint Execution and Composition Of The Paint Layersmentioning

confidence: 99%

“…Technical and material studies of mural paintings produced in the first half of the 20th century are still an unexplored field of research. The Industrial Revolution and advances in the chemical dyeing and painting industry from the 19th century onwards introduced new materials (such as Portland cement, acrylic, vinyl, and silicate-based paints) and paved new ways for mural painters to express their art on walls [9][10][11][12][13]. All over the world, artists ceased to limit themselves to the traditional methods of fresco and secco and started experimenting with new painting techniques and synthetic colours [11,14,15].…”

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Modern Muralists in the Spotlight: Technical and Material Characteristics of the 1946–1949 Mural Paintings by Almada Negreiros in Lisbon (Part1)

Gil,

Cardoso,

Costa

et al. 2024

Heritage

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This paper presents the first insight into how Almada Negreiros, a key artist of the first generation of modernism in Portugal, created his mural painting masterpiece in the maritime station of Rocha do Conde de Óbidos in Lisbon. This set of six monumental mural paintings dates from 1946 to 1949 and is considered Almada’s artistic epitome. As part of the ALMADA project: Unveiling the mural painting art of Almada Negreiros, the murals are being analyzed from a technical and material perspective to understand his modus operandi and the material used. This is the first study of this nature carried out on site and in the laboratory using standard and more advanced imaging, non-invasive analysis, and microanalysis techniques. This article reports the results obtained with visual examination, technical photography in visible (Vis), visible raking (Vis-Rak), complemented by 2D and 3D optical microscopy (OM), scanning electron microscopy with energy-dispersive spectrometry (SEM-EDS), and Fourier transform infrared micro-spectroscopy (µ-FTIR) of the paint layers. The results show the similarities, differences, and technical difficulties that the painter may have had when working on the first, third, and presumably last mural to be painted. Vis-Rak light images were particularly useful in providing a clear idea of how the work progressed from top to bottom through large sections of plaster made with lime mortars. It also revealed an innovative pounced technique used by Almada Negreiros to transfer the drawings in full scale to the walls. Other technical characteristics highlighted by the analytical setup are the use of textured, opaque, and transparent paint layers. The structure of the paintings does not follow a rigid build-up from light to dark, showing that the artist freely adapted according to the motif represented. As far as the colour palette is concerned, Almada masterfully uses primary and complementary colours made with Fe-based pigments and with synthetic ultramarine blue, cadmium pigments, and emerald green.

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Section: Paint Execution and Composition Of The Paint Layersmentioning

confidence: 99%

Section: Paint Execution and Composition Of The Paint Layersmentioning

confidence: 99%

“…Historically, several materials have been used for this purpose, from lime to organic substances of different kinds (e.g., egg, animal glues, casein, oil, etc.) [13,40]. However, in the official list of materials to be used in the field provided by Almada Negreiros in 1947, only lime and earth pigments are mentioned [41].…”

Section: Paint Execution and Composition Of The Paint Layersmentioning

confidence: 99%

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confidence: 99%

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