Tuesday, September 28, 2010
Wednesday, June 23, 2010
Degradation and Conservation of Frescoes. - Contemporary Fresco Gazette
Deterioration of fresco paintings results from the open, porous nature of their support (walls and ceilings of buildings or other carriers) and their interaction with the surrounding microclimates.
The porous mortar backing provides an easy route for the movement of dilute salt solutions. Salts contained in the building materials or the surrounding area can be readily transported to the plaster underlying the painting. Old leaky roof, clogged gutters or subterrenean walls and/or semi-burried walls - anything that would cause water to soak and remain in the wall will eventually bring salts from adjusent areas into the plaster. The wall and fresco can get wet from the rains and not be affected as long as it is exposed to freely moving air that would dry it naturally.
Conservation methods have been developed to remove salts formed from reactions of sulfate ion traveling through the mortar. When the sulfate ion reacts with calcium, it forms calcium sulfate, gypsum. Since gypsum is more soluble than calcium carbonate, it dissolves and re-crystallizes with changes in humidity. These cycles lead to severe damage when the gypsum crystallizes just beneath or throughout the paint layer.
Florentine floods of 1966 spurred the development of a conservation treatment, the "Barium Method," in which a series of poultices are applied to such sulfate-damaged fresco paintings to form the less soluble barium sulfate from calcium sulfate The first step in this procedure solubilizes calcium sulfate.
A thick swab of soft absorbent paper (paper towel) containing a supersaturated solution of ammonium carbonate [(NH4)2CO3] is applied to the surface of the fresco so that the solution is absorbed by the wall. Any calcium carbonate forming on the surface of painting is swabbed away; whereas, that formed within the plaster helps re- establish cohesion.
CaSO4) + (NH4)2CO3(aq) [(NH4)2SO4(aq) + CaCO3(s)
It is followed by application of a solution containing Barium Hydroxide also applied using thick swab of soft absorbent paper (paper towel). Barium Hydroxide converts any remaining calcium sulfate present into the less soluble barium sulfate:
Ba(OH)2(aq + CaSO4(s) BaSO4(s) + Ca(OH-)2
The excess barium hydroxide is homogeneously absorbed into the intonaco. It reacts with any sulfate ion present to form barium sulfate and arrests further migration of this ion or with atmospheric carbon dioxide to act as a binding agent to consolidate the plaster and pigments:
Ba(OH)2(aq + CO2 BaCO3(s) + H2O
The scientific basis of this conservation rests on differences in the solubility of several salts. The barium method was applied to restoration of the frescoes of Brancacci Chapel in Florence in which calcium sulfate had been shown to be the major agent of destruction. The second most common cause of deterioration of frescoes comes from previous conservation efforts in which early conservationists attempted to protect the fresco or brighten colors with glues, oils, egg white and/or waxes.
In time, these organic materials darken, shrink, and lift off paint layers. In addition, they provide nutrients for the growth of microorganisms and prevent the exchange of moisture and air between the fresco and atmosphere. Recent restoration of the Sistine Chapel frescoes focused on removing the residues of early conservation efforts by treating the frescoes with a cleaning solution to solubilize glues and waxes. The cleaning solution contained ammonium bicarbonate, (NH4)2CO3(aq) to remove calcium sulfate (equation 1).
Consolidation of loose paint and intonaco was, however, done with polymeric injections as the paintings in the Sistine Chapel contained low levels of sulfates, but high levels of nitrates, a counter indication to barium hydroxide treatment Speculate on the reasons why the barium method would be inappropriate under these conditions.
Degradation and Conservation of Frescoes. - Contemporary Fresco Gazette
The porous mortar backing provides an easy route for the movement of dilute salt solutions. Salts contained in the building materials or the surrounding area can be readily transported to the plaster underlying the painting. Old leaky roof, clogged gutters or subterrenean walls and/or semi-burried walls - anything that would cause water to soak and remain in the wall will eventually bring salts from adjusent areas into the plaster. The wall and fresco can get wet from the rains and not be affected as long as it is exposed to freely moving air that would dry it naturally.
Conservation methods have been developed to remove salts formed from reactions of sulfate ion traveling through the mortar. When the sulfate ion reacts with calcium, it forms calcium sulfate, gypsum. Since gypsum is more soluble than calcium carbonate, it dissolves and re-crystallizes with changes in humidity. These cycles lead to severe damage when the gypsum crystallizes just beneath or throughout the paint layer.
Florentine floods of 1966 spurred the development of a conservation treatment, the "Barium Method," in which a series of poultices are applied to such sulfate-damaged fresco paintings to form the less soluble barium sulfate from calcium sulfate The first step in this procedure solubilizes calcium sulfate.
A thick swab of soft absorbent paper (paper towel) containing a supersaturated solution of ammonium carbonate [(NH4)2CO3] is applied to the surface of the fresco so that the solution is absorbed by the wall. Any calcium carbonate forming on the surface of painting is swabbed away; whereas, that formed within the plaster helps re- establish cohesion.
CaSO4) + (NH4)2CO3(aq) [(NH4)2SO4(aq) + CaCO3(s)
It is followed by application of a solution containing Barium Hydroxide also applied using thick swab of soft absorbent paper (paper towel). Barium Hydroxide converts any remaining calcium sulfate present into the less soluble barium sulfate:
Ba(OH)2(aq + CaSO4(s) BaSO4(s) + Ca(OH-)2
The excess barium hydroxide is homogeneously absorbed into the intonaco. It reacts with any sulfate ion present to form barium sulfate and arrests further migration of this ion or with atmospheric carbon dioxide to act as a binding agent to consolidate the plaster and pigments:
Ba(OH)2(aq + CO2 BaCO3(s) + H2O
The scientific basis of this conservation rests on differences in the solubility of several salts. The barium method was applied to restoration of the frescoes of Brancacci Chapel in Florence in which calcium sulfate had been shown to be the major agent of destruction. The second most common cause of deterioration of frescoes comes from previous conservation efforts in which early conservationists attempted to protect the fresco or brighten colors with glues, oils, egg white and/or waxes.
In time, these organic materials darken, shrink, and lift off paint layers. In addition, they provide nutrients for the growth of microorganisms and prevent the exchange of moisture and air between the fresco and atmosphere. Recent restoration of the Sistine Chapel frescoes focused on removing the residues of early conservation efforts by treating the frescoes with a cleaning solution to solubilize glues and waxes. The cleaning solution contained ammonium bicarbonate, (NH4)2CO3(aq) to remove calcium sulfate (equation 1).
Consolidation of loose paint and intonaco was, however, done with polymeric injections as the paintings in the Sistine Chapel contained low levels of sulfates, but high levels of nitrates, a counter indication to barium hydroxide treatment Speculate on the reasons why the barium method would be inappropriate under these conditions.
Degradation and Conservation of Frescoes. - Contemporary Fresco Gazette
Tuesday, June 8, 2010
Fresco Painting Clay Lath
Introducing Fresco Lath - Clay (brick) Lath, a product that combines innovation with tradition! "Fresco Lath," is the ideal base or foundation for small frescoes, mosaics or any job requiring a plaster base. Fresco Lath is a thin wire lath with clay heads at the cross points. What this means for the artist and plasterer is that Fresco Lath provides perfect plaster adherence. Fired clay, when added to lime plaster, creates a chemical reaction that causes the clay and plaster to harden and meld firmly into one another, creating one solid, rock-like piece. This product creates the same hydraulic reaction developed by the Roman Empire to form Roman cement by using ground up clay tiles, slaked lime and sand - a process as old as construction itself and durable enough to withstand millennia.
images and video from Fresco School's archives of the 20th anniversary of the fall of the Berlin Wall project by Wende Museum and The City of Los Angeles, November 2009
Tuesday, October 20, 2009
Fresco Painting Event for The 20th Anniversary Celebration of The Fall of the Berlin Wall Project - Contemporary Fresco Gazette
October 24 - 25, 10AM - 4PM. The "Wall As Canvas II" painting event to be held on the grounds of the Page Museum, 5801 Wilshire Boulevard, Los Angeles, CA 90036
Join iLia Anossov (fresco) of The Fresco School as he paints frescoes on sections of The Wall Across Wilshire as part of the 20th Anniversary celebration of The Fall of the Berlin Wall Project. After a fresco demonstration by iLia, viewers themselves are encouraged to participate in painting frescoes on actual section of The Wall Across Wilshire. On November 8, wall segments will be joined to form "The Wall Across Wilshire." That evening, during a midnight ceremony, artists will topple the Wall as it is broadcast live on German television.
"Fresco is a dynamic art form that belongs everywhere, not just on church walls," says Mr. Anossov (fresco). During the "Wall as Canvas II" event, he will re-create works in fresco on sections of the Wall Across Wilshire that he originally painted in oil while he lived in Moscow behind the Iron Curtain in the 1980's. By painting his former works in oil as fresco, iLia will demonstrate how Fresco painting can be utilized in contemporary forms. His chosen subject matter and style of works made during his years behind the Iron Curtain symbolically expresses a reunion of past and present in the new freedom from "Walls" of any kind whether it would be the wall of Cold War or the wall between classic and contemporary arts.
Because of his passion for the use of environmentally sustainable products, iLia will apply the fresco plaster for this event onto a Stauss brick/clay lath - a durable and earth-friendly backing for plaster applications. This chemical-free, non-combustible lath is the greenest and most environmentally conscious way to build a wall. The Stauss lath does not rot and creates breathable, earthquake safe walls for the same price of dry construction. By using this clay lath, iLia's goal is to further educate the public on green building solutions.
After a brief hands-on Fresco tutorial by iLia, everyone present, regardless of artistic ability is encouraged to experiment and be a part of this historic event by creating their own frescoes on sections of the commemorative Berlin Wall. Join in this historic event and celebrate freedom of artistic expression with a rare chance to work side-by-side with Mr. Anossov, one of the very few artists in the world who can be considered a master in the art of fresco painting.
Fresco artist iLia Anossov is the owner, creator and head instructor of The Fresco School, established in 1997 in Los Angeles. The Fresco School is the only art school offering a full spectrum of ongoing (buon) true fresco curriculum throughout the entire calendar year. Hundreds of students from around the world have attended The Fresco School's workshops and classes, from amateurs to professionals, including schoolteachers and university professors. With iLia and The Fresco School leading the way, Fresco - the ultimate fusion of art and architecture - will soon be painted in every town!
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The Wall Project (www.wallproject.org), a civic commemoration, and series of public art events marking the 20th anniversary of the fall of the Berlin Wall. In October, a Wall
Across Wilshire will be provided to select artists including Shepard Fairey and organizations from Los Angeles who will paint their creative responses to the walls in our lives. In addition, ten newly acquired segments of the original Berlin Wall will form a Wall Along Wilshire. The Wall Along Wilshire will be painted by Kent Twitchell and Thierry Noir and will become part of The Wende Museum's permanent collection at the conclusion of The Wall Project.
Fresco Painting Event for The 20th Anniversary Celebration of The Fall of the Berlin Wall Project - Contemporary Fresco Gazette
Join iLia Anossov (fresco) of The Fresco School as he paints frescoes on sections of The Wall Across Wilshire as part of the 20th Anniversary celebration of The Fall of the Berlin Wall Project. After a fresco demonstration by iLia, viewers themselves are encouraged to participate in painting frescoes on actual section of The Wall Across Wilshire. On November 8, wall segments will be joined to form "The Wall Across Wilshire." That evening, during a midnight ceremony, artists will topple the Wall as it is broadcast live on German television.
"Fresco is a dynamic art form that belongs everywhere, not just on church walls," says Mr. Anossov (fresco). During the "Wall as Canvas II" event, he will re-create works in fresco on sections of the Wall Across Wilshire that he originally painted in oil while he lived in Moscow behind the Iron Curtain in the 1980's. By painting his former works in oil as fresco, iLia will demonstrate how Fresco painting can be utilized in contemporary forms. His chosen subject matter and style of works made during his years behind the Iron Curtain symbolically expresses a reunion of past and present in the new freedom from "Walls" of any kind whether it would be the wall of Cold War or the wall between classic and contemporary arts.
Because of his passion for the use of environmentally sustainable products, iLia will apply the fresco plaster for this event onto a Stauss brick/clay lath - a durable and earth-friendly backing for plaster applications. This chemical-free, non-combustible lath is the greenest and most environmentally conscious way to build a wall. The Stauss lath does not rot and creates breathable, earthquake safe walls for the same price of dry construction. By using this clay lath, iLia's goal is to further educate the public on green building solutions.
After a brief hands-on Fresco tutorial by iLia, everyone present, regardless of artistic ability is encouraged to experiment and be a part of this historic event by creating their own frescoes on sections of the commemorative Berlin Wall. Join in this historic event and celebrate freedom of artistic expression with a rare chance to work side-by-side with Mr. Anossov, one of the very few artists in the world who can be considered a master in the art of fresco painting.
Fresco artist iLia Anossov is the owner, creator and head instructor of The Fresco School, established in 1997 in Los Angeles. The Fresco School is the only art school offering a full spectrum of ongoing (buon) true fresco curriculum throughout the entire calendar year. Hundreds of students from around the world have attended The Fresco School's workshops and classes, from amateurs to professionals, including schoolteachers and university professors. With iLia and The Fresco School leading the way, Fresco - the ultimate fusion of art and architecture - will soon be painted in every town!
-----
The Wall Project (www.wallproject.org), a civic commemoration, and series of public art events marking the 20th anniversary of the fall of the Berlin Wall. In October, a Wall
Across Wilshire will be provided to select artists including Shepard Fairey and organizations from Los Angeles who will paint their creative responses to the walls in our lives. In addition, ten newly acquired segments of the original Berlin Wall will form a Wall Along Wilshire. The Wall Along Wilshire will be painted by Kent Twitchell and Thierry Noir and will become part of The Wende Museum's permanent collection at the conclusion of The Wall Project.
Fresco Painting Event for The 20th Anniversary Celebration of The Fall of the Berlin Wall Project - Contemporary Fresco Gazette
Saturday, August 15, 2009
Kent Twitchell's Interview for Berlin Wall Project part 1 of 3
Brent Turner interviews Kent Twitchell about Berlin Wall Project (www.wallproject.org) organized by Wende Museum of Cold War at his studio at the Fresco School.
The Wall Along Wilshire Eastside Gallery West, recalls a stretch of the Berlin Wall made
famous by international artists who came to the city specifically to paint on it and will be on view October 17 through November 14 in front of 5900 Wilshire Boulevard. This new wall will be painted by the French-born, Berlin-based artist Thierry Noir, one of the first artists to paint on the Berlin Wall in 1984, and Kent Twitchell whose larger-than-life murals capture what makes L.A. culture so vibrant and renown throughout the world
Kent Twitchells Interview for Berlin Wall Project part 2 of 3
Brent Turner interviews Kent Twitchell about Berlin Wall Project (www.wallproject.org) organized by Wende Museum of Cold War at his studio at the Fresco School.
The wall segments for this open-air street gallery are constructed by the Fresco School of a metal frame clad in Stauss Ziegelgewebe, a green-construction product donated from Austria consisting of brick mash and covered with plaster; each segment measures 11 feet in height and 3 feet in width;
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