Intonaco


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Intonaco

1.
2. The fine finish coat of plaster made with white marble dust to receive a fresco painting. See also: Plaster

intonaco

The fine finish coat of plaster made with white marble dust to receive a fresco painting.
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Fresco is different from other painting techniques, in that as soon as the wall gets coated with the intonaco, it starts to dry, giving the artist an eight-to-10-hour window of time to work.
Because the intonaco must be painted while it is wet, the wall is coated with just the amount of fresh intonaco that an artist is able to paint in one day; thus, the art of fresco is necessarily piecemeal.
THE MATERIALS Intonaco is the basic material for fresco.
Mason and quartz silicate sand are added to the slaked lime and mixed with a trowel until the intonaco is the consistency of putty.
In the workshops of the Renaissance, apprentices would have mixed the intonaco and applied it to the wall.
These underdrawings were then covered over in the process of laying down the final, fine plaster layer, the intonaco.
The rich texture of Guidoriccio's costume and the gualdrappa of his steed depends upon a sophisticated, and highly unusual, punching technique: a large square tool, comprising sixteen pyramidal 'teeth', was repeatedly applied to the wet intonaco (Fig.
Present in the costumes of Guidoriccio and his steed are complex motifs moulded into the intonaco, a procedure found only in the works of Lippo and Simone; (33) and the metallic trappings of the horse were originally made of tin, glazed with a colored varnish, a technique, once again, associated almost exclusively with 'i Memmi'.
Dismissing attributional controversies (there is too little known of palaces in the late Quattrocento and early Cinquecento to make a convincing argument), Preyer believes that the Corsi-Horne may be the first example of a type (the intonaco facade with corner quoins) that had a long and fruitful progeny -- although she herself agrees that its originality and influence seems inversely proportional to its and its patron's importance in Florence.
32) Two years later, in July and November of 1592, arriccio, intonaco, and whitewash were applied to the buildings and loggia of the piazza, half of the structures over the cloister loggias were re-roofed, and the stairs were repaved.
Sebastiano's use of a purplish-grey tint in the intonaco of his Farnesina frescoes is rightly highlighted.