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The Apotheosis of Washington is the fresco painted by Greek-Italian artist Constantino Brumidi in 1865 and visible through the oculus of the dome in the rotunda of the United States Capitol Building in Washington, D.C. The fresco is suspended 180 feet (55 m) above the rotunda floor and covers an area of 4,664 square feet (433.3 m 2). The ...
Painted in 1930 by José Clemente Orozco, it is the first example of a modern, Mexican fresco mural in the U.S. [32] St. Ann Arts and Cultural Center in Woonsocket, RI. Home of the largest collection of fresco paintings in North America.
Pages in category "Fresco paintings in the United States" The following 10 pages are in this category, out of 10 total. This list may not reflect recent changes. A.
Circa 450-600 AD, original fresco. Painting in the Americas before European colonization is the Precolumbian painting traditions of the Americas. Painting was a relatively widespread, popular and diverse means of communication and expression for both religious and utilitarian purpose throughout the regions of the Western Hemisphere.
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 mural, painted between 1932 and 1934, consists of a series of 24 fresco panels, whose principal themes are the impact of both indigenous Native Americans and European colonists on North America, and the impact of war (particularly the Mexican Civil War and the First World War) and rapid industrialization on the human spirit. [2]
On the square across from the United Nations in Geneva, Swiss-French artist SAYPE has used eco-friendly paint to create a giant fresco intended to draw attention to the plight of civilians in ...
Fresco paintings, 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.