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.
( sold)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."
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