The Fresco Challenge: Edition No. 1

As I glance around my studio I realize that the more space I make for myself, the more space I take...it never seems to be enough. 20 kg buckets of lime imported from Italy, sacks of sand, powder pigments in a multitude of glass jars ready to be mixed with distilled water. Trowels, cheesecloth, rags, plastic, wet towels and spray bottles to keep the work moist as long as possible. "Why go through all of the trouble?" is a question I am often asked. My reply is always the same. As an artist I don't think you pick the medium, I think the medium picks you, and I am ecstatic to be part of a renaissance for the fresco technique...such an important part of art history and one of the oldest forms of painting!

As I prepare to begin my next large fresco I will take you through some of these challenges as they don't stop with just the materials required. Above, below and in the sidebar you will see 3 fresco studies I have completed in preparation for a much larger fresco of the same subject that I will be commencing soon. The reason I do these small studies is the time factor I mentioned in an earlier blog post. In large works I benefit greatly if I have had a chance to paint a smaller version first, always remembering that I must acheive my desired result before the plaster I am working on has a chance to dry, I guess this would be challenge #1.

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Above you can see an example of challenge #2. Upon completion of any fresco I have to consider that the painting will dry anywhere from 10-25% lighter depending on the amount of lime paste (bianco san giovanni) I have added to my palette. Take a look and notice how the whites have popped, and the shadows have lightened somewhat in this newest fresco titled "Via Giacomo Under a Pale Blue Sky."

A typical 12 hour day in the fresco studio

It is September, and now that everyone is back to school and back to work and I am back in my studio full time, without friends, family and the summer sun tugging at me to "come out and play," I thought I would walk you through a typical fresco painting day at my easel.

I am often asked "how long did it take you to paint that?" A difficult question for any artist to answer, not because the time cannot be measured, but because the creation of a piece of art often includes much more than brush and pigment.

In my case, the fresco shown here is part of an intense study of my mothers village in Italy through time spent, sketches, and photographic references. My goal is to try and capture the essence of this place in a large panoramic fresco which will include some of the village and its inhabitants (my feathered friends, the chickens,) and the awesome view of the Ionian sea.

In order to acheive this in fresco, a fairly unforgiving medium, I will do a series of smaller frescoes (approx 18"x18") These will be segments or close ups of the larger fresco which will ultimately be approx. 40"x60"

For those of you who prefer a more concrete answer to the time question, I have documented the "clock"time for you. As you can see a time sensitve fresco must be completed before the plaster that I am painting on has a chance to dry (buon fresco.) This can vary, but this particular peice, at this size, at this time of year, where I am in Canada took 12 hours (whew!)

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