Art History IHow to Look at Art

Fresco, Tempera, Oil and More

True fresco is painted into wet plaster; egg tempera dries fast in fine strokes; oil paint dries slowly and allows glazes and blending.

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Paint is two things: pigment (colored powder, often ground minerals) and a binder that holds it and sticks it to a surface. Change the binder and you change everything: how fast the paint dries, how you can work with it, and how it looks centuries later.

The main painting media in this course.
MediumBinder and surfaceWhat it does
True (buon) frescoPigment in water, brushed into wet lime plasterBecomes part of the wall as the plaster sets; very lasting; must be painted fast, one day's patch (giornata) at a time
Fresco secco ("dry")Pigment with glue or egg, on dry plasterEasier to correct, but flakes off more easily
Egg temperaPigment in egg yolk, usually on a wooden panel coated with gessoDries in minutes; built up in fine strokes; crisp and luminous
OilPigment in drying oil (often linseed), on panel or canvasDries slowly; can be blended and laid in thin, transparent glazes
MosaicSmall cubes (tesserae) of stone or glass set in mortarGlitters and lasts; a picture made of pieces
EncausticPigment in hot waxRich, lasting color; used for ancient portraits

Key idea

Fresco is painted into wet plaster; tempera is pigment in egg; oil is pigment in slow-drying oil that can be blended and glazed.

Why it works

In true fresco, lime in the plaster reacts with the air as it dries and locks the pigment into a thin crust of stone. That is why frescoes survive on walls for centuries, and why the painter has only hours before the patch sets. Oil dries slowly because the oil hardens by slowly taking up oxygen from the air, which leaves days to blend.
Fra Angelico, The Annunciation, about 1440 to 1445, fresco, Convent of San Marco, Florence.

Looking closely: Fra Angelico's Annunciation. An angel with striped wings bows to a seated young woman in a simple porch of slender columns and arches. The colors are pale and clear, the forms simple, the background garden flat and quiet. That matte, chalky clarity is typical of true fresco. It was painted at the top of a staircase in a friars' convent, so the friars saw it every time they climbed to their rooms.

Leonardo da Vinci, The Last Supper, about 1495 to 1498, Milan.

Looking closely: The Last Supper's surface. Leonardo wanted to work slowly and blend like a panel painter, so he did not paint true fresco. He used tempera and oil on a dry wall. The paint began flaking within decades. What you see today is the result of many repairs and a long restoration finished in 1999.

Worked example: Which medium?

A painter wants to soften the edge of a cheek over several days and lay thin, glowing layers of color. Which medium fits best?
  1. Fresco sets within a day, so no.
  2. Tempera dries in minutes and is built in small strokes, so blending is hard.
  3. Oil stays workable for days and can be glazed.

Answer: Oil paint.

Common mistake

Calling every wall painting a fresco. True fresco is painted into wet plaster. The Last Supper is a wall painting but not a true fresco, and that is part of why it decayed so fast. Check: was the paint applied wet into fresh plaster? If not, it is secco or another wall technique.

Practice

Pass with 3 right answers, the last 2 in a row. Each right answer earns 2 XP.

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Sources and further reading

@teddyrookbook GitHub