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Francisco Goya: "The Name of God", YHWH in triangle, fresco detail. The Adoration of the Name of God (Spanish: Adoración del nombre de Dios) or The Glory (Spanish: La gloria) (1772) is a fresco painted by Francisco Goya on the ceiling of the cupola over the Small Choir of the Virgin in the Basílica de Nuestra Señora del Pilar in Zaragoza.
The Ecce Homo (Latin: "Behold the Man") in the Sanctuary of Mercy church in Borja, Spain, is a fresco painted circa 1930 by the Spanish painter Elías García Martínez depicting Jesus crowned with thorns. Both the subject and style are typical of traditional Catholic art. [1]
Prometheus (Spanish: Prometeo) is a fresco by Mexican muralist José Clemente Orozco [4] depicting the Greek Titan Prometheus stealing fire from the heavens to give to humans. [2] It was commissioned for Pomona College's Frary Dining Hall and completed in June 1930, [4] becoming the first modern fresco in the United States.
The Fuentidueña room includes a number of other, mostly contemporary medieval art works set within the Fuentidueña Apse. They include, in its dome, a large fresco c. 1130–50, from the Spanish Church of Sant Joan de Tredòs, in its colorisation resembling a Byzantine mosaic and is dedicated to the ideal of Mary as the mother of God. [9]
The painting technique used on the Sigiriya paintings is "fresco lustro". It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.
The Arlanza gryphon, fresco transferred to canvas, 189.5 × 322 cm, c. 1210, MNAC, Barcelona. The paintings from Arlanza are a set of frescos belonging to the mural decoration of a Benedictine monastery of San Pedro de Arlanza, in the Province of Burgos, Castile and León, Spain, dating to around 1210, and now dispersed among a number of collections.
The painting depicts a woman holding an umbrella known as the parasol, a theme similar to Juan Luna's La Madrileña (En el Balcon). Hidalgo's La Parisienne was the first Philippine work of art to be chosen as a cover for Sotheby's sale catalog due to its importance, rarity, uniqueness, and exclusivity.
To create the fresco Vasari used the true fresco method which involved the application of pigment directly to damp lime-based plaster without the use of a binding agent as he considered it was the most virile, most secure, most resolute and durable. [6] The downside is that this method is one of the most difficult and time-consuming to use.