Priya Kapoor
Fresco is a painting technique that dates back to antiquity and is known for the vibrance of its colours and durability. There are three traditional fresco methods: buon fresco, fresco secco, and mezzo fresco. Buon fresco, which translates to 'true fresh', is the most typical and traditional technique. It involves painting with alkaline-resistant pigments, ground in water, onto a thin layer of wet, fresh, lime mortar or plaster. Because of the chemical makeup of the plaster, a binder is not required. However, some artists used lime as a binding medium for pigment to slow the drying process of the plaster and continue working for longer periods. In contrast, the secco method, which is done on dry plaster, requires a binding component. The most common binder for this technique is egg yolk, which reduces the adverse effects of ageing.
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What You'll Learn
Buon fresco does not require a binder
The term "fresco" is often used to refer to any wall painting, regardless of the plaster technology or binding medium. However, this contributes to a misconception about the most common wall painting technology. The buon fresco technique involves painting with alkaline-resistant pigments that are ground in room-temperature water and applied to a thin layer of wet, fresh lime mortar or plaster (intonaco). Due to the chemical composition of the plaster, buon fresco does not require a binder. The pigment mixed with water is absorbed by the intonaco, which then becomes the medium holding the pigment. As the plaster dries, it reacts with the air, fixing the pigment particles in a protective crystalline mesh. This process, known as carbonatation, ensures the durability of the fresco.
Buon fresco is a challenging technique due to the deadline imposed by the drying plaster. Artists typically have about seven to nine hours of working time before the plaster dries. Once the plaster is dry, no further buon fresco can be applied, and any unpainted plaster must be removed before continuing the next day. This time constraint led to the development of the secco fresco technique, which is done on dry plaster and allows for more flexibility in the painting process.
In the secco fresco technique, the dry plaster is sanded to create a rough texture that enhances paint adhesion. However, a binding medium, such as egg yolk (tempera), glue, or oil, is necessary to attach the pigment to the wall. Secco fresco was often used to make changes or add details to existing buon fresco paintings, as certain colours, especially blues, were difficult to achieve with the wet fresco technique.
The buon fresco technique has been used for centuries, with examples dating back to the 17th century BC found in Akrotiri, Santorini. It was also employed by renowned artists such as Raphael, Masaccio, and Michelangelo, who often used buon fresco for backgrounds before adding secco details. The durability of buon fresco is attributed to the chemical reaction between the wet plaster and carbon dioxide in the air, resulting in a hard layer of calcium carbonate that securely fixes the pigments.
While buon fresco does not require a binder, some artists have used lime as a binding medium to slow down the drying process and extend their working time. This highlights the complexity and versatility of the buon fresco technique, which, despite its challenges, has produced some of the most renowned and long-lasting frescoes in history.
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Secco fresco requires a binder, usually egg yolk
Secco fresco, or fresco-secco, refers to the process of painting on the surface of a dry plaster wall. Unlike buon fresco, which involves painting on a thin layer of wet, fresh plaster, secco fresco requires a binder to attach the pigment to the wall.
The most common binder used in the secco fresco technique is egg yolk, or egg tempera. The yolk is favoured because it reduces the adverse effects of ageing, such as yellowing and wrinkling. This is due to the antioxidant properties in egg proteins that combat paint oxidation.
Secco fresco was often used to supplement buon fresco. The technique was used to repair damage, make changes, or add details to the original work. For example, blue skies and robes were often added using secco fresco, as the available blue pigments did not work well in wet fresco. Secco fresco was also used to create broader colour ranges, as not all colours can be achieved in buon fresco.
The secco fresco technique offers more flexibility to artists, as there is no rush to complete the painting before the plaster dries. Artists can start and stop as they please, which is not possible with buon fresco. However, secco fresco is generally less durable than buon fresco. Buon fresco is more chemically stable, as the pigment becomes trapped within the plaster as it dries, ensuring the durability of the fresco over time.
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The binder is added to the paint to hold the pigment in solution
The binder in a paint is the film-forming component that holds the pigment in solution until it is ready to be dispersed onto the surface. In the context of fresco painting, the term "binder" can refer to two different things.
Firstly, it can refer to the plaster layers that act as a binder between the wall and the paint layers in a buon fresco. Buon fresco, or true fresco, is a traditional fresco technique where pigments are mixed with room-temperature water and painted directly onto a thin layer of wet, fresh lime plaster called intonaco. The pigment is absorbed by the wet plaster, and after a few hours, the plaster dries and fixes the pigment particles in place. Due to the chemical makeup of the plaster, a separate binding agent is not required for this technique.
However, the term "binder" can also refer to the binding medium used in the secco fresco technique. Secco fresco involves painting on a dry plaster surface, and since the pigment is not mixed into the wet plaster, a binder is required to hold the paint onto the surface. Egg yolk or egg tempera is the most common binder used for this purpose, as it helps reduce the adverse effects of aging such as yellowing. Other binders used in secco fresco include casein, oils, waxes, wheat starch, and sturgeon glue.
In both buon fresco and secco fresco techniques, the binder plays a crucial role in ensuring the durability of the painting. The buon fresco technique, where the pigment is absorbed into the wet plaster, is known for its longevity, with ancient examples surviving in locations such as Pompeii, Egypt, and the Lascaux Caves in France. The secco fresco technique, on the other hand, is less durable and was often used to repair or add details to buon fresco paintings.
In summary, while the buon fresco technique does not require a separate binding agent for the paint, the secco fresco technique relies on binders such as egg yolk or egg tempera to adhere the paint to the dry plaster surface. These binders are essential in holding the pigment in solution and ensuring the long-term stability of the painting.
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The scratch layer acts as a binder between the wall and subsequent layers
The fresco is a painting technique that involves applying pigments to wet plaster. The Italian word "fresco" means "in fresh", referring to the process of painting onto fresh plaster. There are three traditional fresco methods: buon fresco, secco fresco, and mezzo fresco.
Buon fresco, or true fresco, is the most common and traditional technique. It involves painting with alkaline-resistant pigments, ground in water, onto a thin layer of wet, fresh, lime mortar or plaster (intonaco). Due to the chemical composition of the plaster, a binder is not required for buon fresco. However, some artists use lime as a binding medium to prolong the drying time of the plaster and extend their work time.
Secco fresco, or fresco secco, is a technique where the paint is applied to the plaster surface after it has dried. This method requires the use of a binder since the pigment is not mixed into the wet plaster. Egg yolk is the most common binder used in secco fresco, favoured for its antioxidant properties that help reduce the adverse effects of ageing, such as yellowing and wrinkles. Other binders used in secco fresco include casein, oils, or waxes.
The scratch layer, or the first layer of a fresco, is crucial in preparing the wall and acting as a binder between the wall and subsequent layers. This layer is typically a rough underlayer called the arriccio, which is added to the entire area to be painted and allowed to dry for several days. Artists often sketch their compositions on this underlayer using a reddish pigment called sinopia. The scratch layer is essential in providing a solid foundation for the fresco, ensuring the durability of the painting.
The process of creating a buon fresco is a race against the drying time of the plaster. Artists typically prepare only enough wet plaster (intonaco) that they can paint in a single day, known as a giornata. Once the intonaco dries, no more buon fresco can be painted, and any unpainted areas must be removed before starting again the next day. This time constraint is a significant challenge in creating buon frescoes.
The longevity and durability of frescoes are evident in ancient examples, such as the prehistoric cave paintings in the Lascaux Caves and the frescoes of Pompeii and Herculaneum, preserved by the volcanic ash of Vesuvius. The secco method, while less durable, was also popular in ancient Egypt.
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The plaster's chemical reaction with air fixes the pigment
Fresco is a painting technique that involves applying pigment directly to wet plaster. The Italian word "fresco" is derived from the High German "frisc", meaning "fresh". This technique, dating back to antiquity, is known for the vibrance of its colours and durability.
In the buon fresco ("true fresco") technique, the plaster used is typically made from quicklime. Quicklime is created by heating limestone, a sedimentary rock found in warm coastal areas, to extremely high temperatures, resulting in a chemical reaction that transforms the limestone into calcium oxide and releases carbon dioxide. This process is known as calcination.
The buon fresco technique involves painting with alkaline-resistant pigments that have been ground in water onto a thin layer of wet, fresh lime plaster called intonaco. The pigment is mixed with room-temperature water and applied to the intonaco before it dries. As the plaster cures, the pigment is absorbed into its surface. The plaster then undergoes a chemical reaction with the air, fixing the pigment particles in a protective crystalline mesh. This process is called carbonatation, and it is essential for the durability of the fresco.
The challenge of the buon fresco technique lies in the deadline imposed by the drying plaster. Artists typically prepare only enough wet plaster that they can paint in a single day, a section known as a giornata. Once the plaster dries, no more buon fresco can be painted on it, and any mistakes may require removing the entire section of intonaco.
In contrast, the secco fresco technique involves painting on a dry plaster surface. This method requires the use of a binder, such as egg yolk or egg tempera, to help the paint adhere to the plaster. The surface of a secco fresco is typically rougher than that of a buon fresco, as the uneven surface aids in the binding of the paint. This technique is often used to touch up or add details to a buon fresco.
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Frequently asked questions
In traditional buon fresco, no binder is required as the pigment is mixed with water and applied to wet plaster. The pigment is then absorbed by the wet plaster and fixed as the plaster dries.
Buon fresco, meaning 'true fresh' in Italian, is a traditional fresco painting technique where alkaline-resistant pigments are ground in water and painted directly onto a thin layer of wet lime plaster. This process must be completed within a day, as the pigment will only be absorbed by the plaster while it is wet.
In contrast to buon fresco, the fresco secco technique involves painting on a dry plaster surface. This method requires the use of a binder, typically egg yolk, to hold the pigment to the plaster.
Many Renaissance artists used the buon fresco technique, including Raphael, Masaccio, and Michelangelo. Examples of their work include the frescoes in the Churches of Göreme and the Sistine Chapel frescoes.
