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In most rooms, such walls are finished with paint or wallpaper. Plaster veneer walls are usually similarly decorated, but unpainted plaster can also serve as a finish. Because bare plaster can be appealing to the touch, and paint would add an additional layer, some decorators opt to leave exposed plaster in some or all of a room, as a creative ...
Buon fresco (Italian for 'true fresh') [1] is a fresco painting technique in which alkaline-resistant pigments, ground in water, are applied to wet plaster. It is distinguished from the fresco-secco (or a secco ) and finto fresco techniques, in which paints are applied to dried plaster.
Various types of models and moulds are made with plaster. In art, lime plaster is the traditional matrix for fresco painting; the pigments are applied to a thin wet top layer of plaster and fuse with it so that the painting is actually in coloured plaster. In the ancient world, as well as the sort of ornamental designs in plaster relief that ...
Copy of the Moscow painting considered to be by Poussin himself: Madrid, Prado: 45a/200 Bacchic scene or Nymph and satyr drinking: 1626–1628: 77 x 62 cm: Copy of the Prado painting considered to be by Poussin himself: Moscow, Pushkin Museum: 45b/200 Midas washing himself in the source of the river Pactolus: 1626–1628 c. 97,5 x 72,5 cm
The oldest method, known as the a massello technique, involves cutting the wall and removing a considerable part of it together with both layers of plaster and the fresco painting itself. The stacco technique, on the other hand, involves removing only the preparatory layer of plaster, called the arriccio together with the painted surface.
The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster.