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Fresco (pl. frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall.
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two ...
Andrea Pozzo's painted ceiling in the Church of St. Ignazio. His masterpiece, the illusory perspectives in frescoes of the dome, [3] the apse and the ceiling of Rome's Jesuit church of Sant'Ignazio were painted between 1685–1694 and are emblematic of the dramatic conceits of High Roman Baroque. Pozzo was an unrivalled master of perspective ...
The subject of Gaulli's ceiling fresco is the Adoration of the Name of Jesus, the story is taken from Saint Paul's Epistle to the Philippians. [7] His words are written on a ribbon, just outside the architectural frame. [7] These words set the scene for Gaulli's fresco and focus on the spreading of faith.
Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism , the Counter Reformation and Catholic Revival, [ 1 ] [ 2 ] but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread ...
Ceiling of the Treasure Room of the Archaeological Museum of Ferrara, Italy, painted in 1503–1506. Trompe-l'œil (French for 'deceive the eye'; / t r ɒ m p ˈ l ɔɪ / tromp-LOY; French: [tʁɔ̃p lœj] ⓘ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a two-dimensional surface.
Poussin and de La Tour adopted a "classical" Baroque style with less focus on emotion and greater attention to the line of the figures in the painting than to colour. Peter Paul Rubens was the most important painter of the Flemish Baroque style. Rubens' highly charged compositions reference erudite aspects of classical and Christian history.
The Allegory of Divine Providence and Barberini Power [1] is a fresco by the Italian Baroque painter Pietro da Cortona, filling the large ceiling of the grand salon of the Palazzo Barberini in Rome, Italy. Begun in 1633, it was nearly finished in three years; upon Cortona's return from Venice, it was extensively reworked to completion in 1639.