THE SQUABBLE BETWEEN A FRESCO AND A WATERCOLOUR

There was one a watercolour that hung in front of a large frescoed wall. One day, it decided to start a war with its rival, so it began muttering: “Hey, fresco, don’t think you are the king of this room just because people who enter look at you and exclaim open-mouthed, “Oh, how beautiful!” and then look at me and say, “How sweet!”

You should know dear fresco that my artist created me with special materials, using layers and methods not easy to define or execute. Let me explain myself better and “my dear wall facing me” listen well. “My body is made of paper, certainly not any kind of paper, but fine paper with a refined cellulose, compact, soft and white to the point of absorbing colour (my “clothes”) and taking advantage, like the brightness and light, of my white body. My painter used a water-soaked sponge to wet the paper so that the colour expanded to obtain special subtle effects.”

The Last Judgement, Michelangelo’s fresco in the Sistine Chapel

Answers the fresco: “My body, the wall, consists of lime and sand: lime of the highest quality, course, oily and aged; the river sand has been sifted and washed. My body (the wall) must also absorb the colour and the painter moistens me with water so that he can paint with fluency and so that I do not dry. The lime fixes the colours which become bright and luminous.”

Retorts the watercolour: “My colours are dissolved with water and applied with soft velvety brushes. You know my dear fresco, I am a valuable painting.”

Answers the fresco: “Do you really think this makes you special? My colours are pure powders dissolved with water, one part of the brushes has bristles, and the other parts, for the glazing, are soft, like yours.”

Exclaims the watercolour: “Now I will really impress you! If a painter is not an expert, or better, is not very experienced, he cannot create me because if he makes a mistake when applying the colour, it cannot be erased or corrected because the paper absorbs the colour, blocking and fixing it.

Albrecht Dürer, Courtyard of the Innsbruck Castle, 1494, watercolour, Vienna, Albertina

Therefore, he must be convinced and accurate. Can you see the beautiful patches of colour! What freshness! The light radiates from the white sheet: there are no second thoughts.”

Replies the fresco: “If you continue with this defiant tone, I will unhook you from your nail! You are taking the words out of my mouth! My wall also absorbs and blocks the colour and shortly after, with the start of the carbonatation process, immediately fixes the pigment layer. The painter cannot put too many colours on top of each other (in one day) but must carefully check the application time and quantity. Therefore, he must be:

1) decisive

2) skilful

3) fast

The result is soft, harmonious, transparent and luminous patches.”

A long silence reigned after this little quarrel between the two contenders. The fresco finally breaks the silence: “Dear watercolour, let’s put the cards on the table. We have many things in common, therefore, the only difference, besides the matter of the paper or wall, is size. Our main aim is to make our observers happy, and anyway, without us this room would be very cold.”

THE FRESCOES OF SIMONE MARTINI: A MORE COMPLICATED TECHNIQUE

Simone Martini created the marvellous “Maestà” fresco in the Palazzo Pubblico of Siena. It is crowded with people honouring and paying homage to the “Madonna and Child.”

If we analyse the execution technique, the topic of “auxiliary tempera” becomes more complex with respect to fresco painters of that time.

Maestà by Simone Martin, Palazzo Pubblico (Siena), 1315-1321

Simone Martini does not only paint the fresco, completing it with a mezzo-fresco, but continues working on his painting without time limits just like an egg tempera painting on wood.

At a first glance, it may seem that Martini did not give any importance to the carbonatation process, but the presence of the days’ work (giornate) belies this. An analysis of the master’s painting and technical procedure shows that he prepares a rather synthetic, almost monochrome, sketch on the fresh plaster, focusing more on the complexions of the many characters.

Up to this point, the operation is similar to Giotto’s but the re-elaborations made by Simone Martini over time highlight a different concept of the wall-painting technique.

Let’s not forget that the technical aspects also reflect social and cultural situations, and aesthetic qualities, etc.

To get a better understanding of Simone Martini’s technique, we analysed the frescoes in the “Cappella Montefiore” of Assisi. What impressed us most was the richness and freshness of the colours. At a closer inspection, we notice that many of them are worn-out, altered or completely gone.

An analytical study of the paintings allowed understanding the type of tempera and therefore the binder used, namely, egg tempera emulsified with linseed oil.

When Simone Martini started decorating the Chapel of Cardinale Montefiore (lower church of the basilica) many technical experiences on fresco painting were realised by the first “pontate” (sections worked in one day) of Cimabue with many results.

Investitura di San Martino (detail of the musicians), Cappella di San Martino, Lower Basilica of St Francis of Assisi

Every painter took into account the errors of previous painters and invented new techniques and products that could resist over time.

From the “pontate” to the “giornate”, short days with buon fresco, long days completed with auxiliary tempera, use of quicklime in the colours, use of lime mortar in its natural white colour, lead white: these are all variations used in the Franciscan basilica in the first thirty years of the 14^th century.

BEAUTIFUL AND SOULFUL: THE NEW MARIANI COLLECTIONS

They are strong and intense, and jump out of the painting to captivate your heart and soul.

Here is a preview of the new works from Mariani, a very special collection coming from an intricate work performed by an artist of the Brescian Company.

This is a work from the new Mariani Collection. The face of the Roman “condottiero” jumps out of the painting with all its history and intensity

“After a long search and drawing inspiration from his many travels and experiences,” explains Laura Mariani, “our artist created this new collection that will be presented at the “Abitare il Tempo” exhibition of Verona in September. Some of these new works were inspired on African votive statues, while others depict animals, giant faces of men and women, historical people, and “condottieri” (mercenary captains), recounting their spirit and soul, conveying to observers a new message steeped in art and spirituality.”

With this collection, Mariani Affreschi opens a new window on the world of art and urges us to reflect on some important points. The painting in these fascinating works no longer simply represents an image, but speaks to us through the eyes, expressions, positions and emotions of the subject.

The look between a man and woman, a painting filled with extreme emotive and spiritual intensity from the new Mariani collection

“These works,” continues Laura Mariani, “have the ability to evoke different emotions and feelings depending on the mood of the observer. The artist’s choice to portray some details, rather than others, characterises each work. They are pieces that stimulate and communicate a new sense of art. The giant faces of the condottieri bring us back to the past, allowing us to experience a new time dimension. Some depictions inspired by African votive statues are infused with spirituality and pathos. The faces of the women, with their eyes full of emotion, do not leave observers indifferent, but penetrate their soul.”

They convey a precious message, and a precious technique was also used to make them. Most of these paintings were created by applying a gold leaf base and covering it with layers of painting that allow giving shape and sense to the figure.

Each work is beautiful on the inside and on the outside because they focus on the search for the soul and inner self.

This work is inspired by an African votive statue created by a Mariani artist for the new collection

They penetrate into places where no one has ever arrived and remind us of the real sense of art and humanity. Man is constantly searching for spirituality, and art is one of the “foods” of our soul. In order for a painting, a subject, or a work to have strength, it must carry a cultural message: that’s why there are giant portraits of condottieri and important people of the past, faces of women who embody the maternal origins of everything, the melancholy and vivid eyes, which interrogate us on the meaning of our lives and search for an answer, a thrill, an emotion.

M.Z.

THE MISTERY OF A WOMAN: THE MOST BEAUTIFUL DEPICTED IN A FRESCO

Sensual and enchanting like a sunset on the beach, elegant and refined in a beautiful dress, wild and mysterious, playful and funny. Art has always depicted women – a subject much loved by artists throughout the centuries – in many different forms and guises, appreciated by our eyes that dream and fantasize while admiring a beautiful woman. To pay homage to these splendid creatures we decided on showing you five frescoes of women created by Mariani’s artists. These works were inspired by very different artists, who nonetheless had one thing in common: great insight and interpretation of the subject being depicted.

A fresco by Mariani inspired by the painting "Evening Mood" by William A. Bouguereau (1825-1905)

The captivating woman in the first fresco, intriguing and enigmatic like an evening at the beach, is based on the work by the French painter Adolphe William Bouguereau (La Rochelle 1825-La Rochelle 1905). The painting portrays all the power of the woman’s body, which is contrasted by the light and mystery of the background. The women of Giovanni Boldini (Ferrara 1842-Paris 1931) date back to the same period, but are very different. The critic Tiziano Panconi gives us a foretaste. “Boldini’s women are graceful and uninhibited. They freely display their learned beauty and affirm their self-determination of mature and emancipated individuals when undressed, completely aware of their femininity”.

Great painters know how to emphasise the most interesting aspects of a theme, especially when dealing with a complex and fascinating universe like that of a woman. A subject much loved by another great artist called Gustav Klimt (Vienna 1862-Neubau 1918).

Klimt’s women in a fresco by the Mariani artists

The women in the famous painting “Water Serpents II” are captivating and sinuous. This extraordinary painting is full of symbols evoking the legend of the siren, of women as a force of nature.

The women depicted by the great Dutch painter who lived during the late 19^th century and early 20th century, Alma Tadema (Leeuwarden 1836-Wiesbaden 1912) are more candid and light-hearted. The fresco created in the Mariani laboratory recaptures all the refined details of the original painting, a work full of romanticism and emotional intensity.

The women of Alma Tadema are candid and carefree in this beautiful fresco by Mariani

The last fresco by Alfons Maria Mucha (Ivančice 1860 – Prague 1939) (Ivančice 1860 – Prague 1939) depicts a completely different woman. The works of this artist are extremely refined: a sharp line outlines all his figures – almost always female (maybe because their shape is more elegant) – whatever pose they assume. M.Z.

A clear line outlines the figures of Mucha in a fresco by a Mariani artist

THE OFFICE? EXPERIENCE NEW EMOTIONS WITH A FRESCO

We spend half of our lives, if not more, in our workplace.

That’s why it is important, for us and for those who visit our space, to have a pleasant working environment that has been professionally decorated according to our tastes.

Today we would like to tell you about a work performed by the Mariani Affreschi artists for the Salionti Company of Vicenza. It involved decorating the company’s meeting room with an evocative and spectacular fresco. This interesting piece of work allows us to reflect upon the beauty of a fresco not only in the context of a home, but also another type of setting.

This first photo shows one of the phases that went into creating the frescoes for the Salionti Company directly in Mariani Affreschi’s laboratory of Brescia

“In order to be able to decorate the inside of an office,” explains Alberto Mariani, “and make it exclusive, we usually rely on large sized fresco paintings. The most common technique used is that of applying the frescoes directly onto the wall, so that it becomes an integral part of the space. In this way, the customer will not feel the need to have to remove the frescoes in the future because they consider them to be an integral part of the actual room”.

A choice of style, therefore, that can add personality to the workplace both for those who use it and those who visit it. The selection of the subject for this type of space mainly depends on the character of the location and the type of people who visit it. The specific work carried out by Mariani Affreschi for the Salionti Company involved decorating a meeting room where the owners met with their clients. Therefore, it was decided to opt for a theme based on the history of the territory where the company is based, the famous zone of the “Ville Venete Palladiane”.

The subjects of the frescoes created by Mariani Affreschi are inspired by Tiepolo and Veronese

“The artists drew inspiration from Tiepolo and Veronese, among others, who were the key elements of the artistic project because no one more than these two great artists of the past knew how to fresco the villas of the Vincenza terrritory with so much mastery. A subject in harmony with the customer’s tastes who loves landscapes and classic figurative scenes.”

This is a splendid photo of the meeting room of the Salionti Company decorated with the Mariani frescoes

This excellent piece of work was created in several different phases.

“The work began with the preparation of colour sketches on paper. After the customer’s approval, based on the measurements taken at the location, the frescoes were painted in our laboratory. They were then glued directly onto the walls of the meeting rooms and plaster frames were added as a final touch by the Salionti Company itself, who specialises in interior finishes.”

The logo of the Salionti Company elaborated and frescoed by a Mariani artist

THE MAGIC OF A FRESCOED BEDROOM

It is the most private room in your home, a place where you relax and spend special and intimate moments.

The bedroom is an important part of our home and the design, décor and harmony all come together to give us emotions, serenity, and comfort in our daily life.

Introducing frescoed decorations into your bedroom coordinated with the style of the surrounding space and in line with our personal tastes is the best way to create a truly captivating setting and atmosphere.

The four images shown here are some examples of the magical works created by the artists at Mariani Affreschi.

Mariani’s work in the bedroom of a villa in Ancona designed by the architect Luigi Catini of Montegranaro (AP): the design was custom made by the artists of the company

First photo is situated in a prestigious villa near Ancona.

Alberto Mariani talks to us about the actual work.

“This frescoed ceiling was painted by our artists directly in the customer’s home. We created the work according to the customer’s specific requirements. The design and actual creation of the frescoes were made to measure for the customer, inspired by Tiepolo and Veronese”. The elegance and refinement of the subject matter is finished off with a gold leaf frame.

Another scene by Mariani, the trompe l'oeil of curtains, a fresco (400x500 cm) created especially for Bel Cor Interiors

The fresco in the second photo is another exclusive example of Mariani’s work. It is a trompe l’oeil of curtains, a fresco measuring 400×500 cm created upon the request of Bel Cor Interiors, a leading company in the furniture industry. “On occasion of the Salone del Mobile of Milan,” explains Alberto Mariani; “the company commissioned a special fresco to act as a backdrop for this marvellous bedroom setting, a combination that fascinated many customers, especially those from abroad”.

The splendid decorations in the bedroom of a young Italian couple

The work created for the private home of a young couple is characterised by a completely unique and very “Italian” style. The setting was designed by the architect Alessandro Dotti.

Three types of works can be seen: hanging on the wall is the fresco “Volo d’angelo” (Flight of an Angel) from Mariani’s catalogue, created exclusively for the customer and finished in gold leaf; the half-moons on the wall show a new decoration, mainly in one colour, but with salmon-coloured details added by the Mariani artist to soften the setting; finally, the decorations on the ceiling, which are very simple and light, a part of the room that is generally “forgotten”, but that is extremely important.

All these fundamental works involve the artist’s skill in being able to interpret the setting which must blend with the personal taste of those who then can truly enjoy and “live” the evocations conveyed by the art and poetry of a fresco. M.Z.

Another frescoed bedroom: hanging paintings (frescoes from the Mariani catalogue), a simple and practical solution with themes and subjects inspired by models of the past

A FRESCO FOR YOUR PLACE OF WORSHIP

Today we will talk about a rather delicate subject, that of decorating cemetery chapels.

Old family tombs are a very rich heritage, made of real artistic treasures that recount the history of our ancestors.

A fresco by Mariani Affreschi inside a cemetery chapel

We have always felt the need to bring together under one roof our deceased relatives, and these places become a spiritual encounter between us and those who are no longer with us.

This intimate and private place can be made more pleasant by decorating it with a fresco created in a professional and serious manner by the Mariani Company.

“Our authentic frescoes,” explains Alberto Mariani, “made using age-old techniques are extremely resistant and can stay outdoors for a long time, which makes them perfect for decorating these types of places”. What goes into making a fresco for decorating cemetery chapels?

A painting depicting the “Resurrection of Christ” by an artist at Mariani Affreschi

Mariani Affreschi sends the painters directly to the cemetery and they work on site or produce the frescoes in our laboratory and then install them at the site. The subjects usually chosen for these types of places are religious and, depending on each person’s personal beliefs, specific scenes can be depicted.

For example, the fresco depicting the “Resurrection of Christ” (shown in the photo) was painted for a family cemetery chapel near Reggio Calabria. It was painted directly on site by Mariani’s artists, i.e. by preparing the fresh plaster base and then painting the scene according to the ancient fresco technique.

The outside of a cemetery chapel frescoed by an artist at Mariani

Alternatively, as required, the work can be prepared in our Brescian laboratory and then sent to the location to be installed in any niche or on any wall.

These are some examples of the many works created by the Mariani company for its customers.

M.Z.

BETWEEN ROMANTICISM AND NOSTALGIA: THE FRESCOES OF ALMA TADEMA

There is a special atmosphere in the paintings of Alma Tadema (Leeuwarden 1836- Wiesbaden 1912), the painter originating from a small village in the Netherlands and master interpreter of the Victorian era.

"A favourite Custom" by Alma Tadema in a Mariani fresco

“His fame,” writes the journalist Laura Larcan, “comes from being able to evoke the dream of a beautified world, where, however, the spasmodic attention to the materialistic and corporeal rendering of reality reveals an ephemeral neoclassic idealism, filling the scenes with a tangible and evocative nostalgia of the past”.

Nostalgia and romanticism are surely two sentiments that flow in the veins of the painter, emotions that he knows how to bring to his works through the artistic skill of an exact and meticulous design, assisted by a virtuous technique.

"The favourite poet" by Alma Tadema in a Mariani fresco

“Alma-Tadema,” writes Larcan, “seduces the observer by portraying women-maids on panoramic terraces in poses of romantic languor and “decadent” indolence, permeated by recurring floral motifs. He knows how to orchestrate subtle settings of alluring eroticism.”

Female figures depicted in ancient Roman scenes are the Dutch painter’s pièce de résistence. The beauty and realistic expressions that they convey, although “clouded” by a wind of nostalgia and decadence, are truly mesmerising.

Alma Tadema’s subjects are also a favourite with Mariani Affreschi and an expert painter from the Brescian company reproduces these types of frescoes, creating works of a high artistic level. “These frescoes have been popular with our customers for many years,” explains Alberto Mariani. “This is because their classic nature combined with the subtleness of the figures radiates a special kind of harmony and gentle sentiment. What’s more, the female figure, unlike that of a man, has always been more popular in home decorating.”

"Comparison" by Alma Tadema in a Mariani fresco

The beauty of these works created with the age-old fresco technique has also been enhanced by the artistic skill of the painter who interprets them. “The fresco technique,” continues to explain Alberto Mariani, “unlike oil painting, makes it difficult to obtain a kind of anatomical realism due to the course material, the mural base, and the short realisation period. In creating these works, the skill of the artist is critically important. He must have the skill to be able to create frescoes of great expressive value.”

M.Z.

A FRESCO FOR OUTDOOR LIVING

We are now in the middle of spring and summer and the time has come to start enjoying the outdoors and those spaces of our home that we seldom visit during the winter months. Porticoes, terraces, balconies and gardens are the places where we like to relax during the warmer months, places that can be embellished with decorations and ornaments to create a new and welcoming atmosphere.

A landscape fresco by Mariani under the portico of a villa

To understand how we can decorate the outside of our home we spoke with Alberto Mariani.

1) Can frescoes be used to decorate outdoor areas?

“Absolutely. Frescoes were historically used to decorate interiors as well as exteriors. Thanks to the chemical reaction called “carbonatation”, the painted layer becomes extremely resistant to factors such as humidity, sunlight and external agents.

Some medieval-style paintings by Mariani Affreschi in the Castello di Montalfeo of Pavia

2) Can the design be ruined by external agents over time?

If the fresco is created according to the highest professional standards, if we think in terms of a few decades, it will not require any maintenance or restoration since it can easily withstand the aforementioned factors. Considering a time span of many centuries, instead, it is true that even a fresco can be attacked by external agents, just like any other element created by nature or artificially. The extent of these agents is nevertheless limited, and the fresco can be restored by suitable restoration works, as currently occurs for frescoes that are hundreds of years old. We can take comfort in the fact that our descendents will fit this bill in many, many years from now….

3) What type of fresco goes well under a portico or on a terrace?

We can think in the same terms as we do for the inside of our home. If we have a niche to decorate, an important piece of work can be the most elegant solution. You can choose between a landscape, a decorative element (lemon plants or olive trees, for example) and a sacred scene, often found in the roadside shrines of our cities.

Whereas, diamond shapes, friezes and decorations based on the style of the home can enhance the architecture of the building.

M.Z.

ArteArredo and Mariani Affreschi: emotions of living

What do the prestigious furniture collections by ArteArredo and elegant paintings and frescos by Mariani have in common? Their uniqueness, of course! But that’s not all.

The special bond formed between the two companies was expressed at the latest Salone Internazionale del Mobile (International Furniture Fair) of Milan: two frescoes created by Mariani’s artists were placed inside the ArteArredo stand as a backdrop for a beautiful bed covered with prized fabrics and a wooden hand-carved dining table.

The poetry of living at the “Salone del Mobile 2010”: the elegance of a marvellous bed by ArteArredo goes well with the classic style of a Mariani fresco

“We got to know each other at the various fairs,” explains Alberto, owner of Mariani Affreschi together with his brother, Alessandro and sister Laura, “and realised that our products were very similar in taste and could go well together. ArtArredo’s handcrafted furniture is requested in prestigious historical villas where they are accompanied by frescoed ceilings and walls.”

Both companies have been present in the furnishing industry for many years, and the ArteArredo products and Mariani frescoes are characterised by the handcrafted skill of expert artisans and artists who create the products on a daily basis.

In the ArteArredo stand at Salone del Mobile 2010, a frescoed ceiling in gold leaf encounters the beauty of a prized handcrafted wooden table

In particular, ArteArredo has been producing furniture collections for over twenty years. The collections are specifically designed by skilled furniture makers who still use the age-old manual techniques according to the best Italian tradition. The young and talented interior designer Béatrice Schleret creates the collections of the Varese company. With her international experience, she produces furniture lines and furnishings with classic forms reinterpreted in a modern style. These items decorate the suites of prestigious hotels and the halls of Arabian royal palaces.

“Our reference market,” explains Béatrice Schleret, “are Arab countries. We have furnished numerous villas and residences in the East and have found that the taste and style of our furnishings go very well with the Mariani frescoes, which are also very popular with Arab customers”.

This same handcrafted passion characterises the Mariani Affreschi company of Brescia, present for over forty years in the world of interior decorating. The company’s collaboration with talented professional fresco painters, selected from some of the best art schools, has allowed the Mariani laboratory to produce beautiful works that embrace subjects of every type, from landscapes to decorative friezes, from renaissance subjects to contemporary Tiffany-style subjects, just to name a few.

In a private villa, the art of furniture meets the art of fresco painting

This special relationship celebrates the unmistakable Italian style: the only thing that can evoke great emotions.

M.Z.

A GIFT FOR CHILDREN

The fields are covered in flowers, the days are longer, the temperatures are becoming more pleasant, and traces of the perfumes and colours of the warmer months are in the air.

Flowers and roses, symbol of beauty and youth in a fresco by Mariani

May is a special month that, together with its “neighbour” June, brings a breath of freshness and youth into our daily lives.

For this special period, we have decided to focus our attention on children, who are the symbol of eternal beauty and who celebrate special occasions such as baptism, first communion and confirmation.

A very tender scene and one of the most loved subject matters, Cherubs

The subjects most loved by children are often those depicting flowers and angels. A lovely idea for a favour can be, for example, a fresco depicting cherubs, those cute little angels representing the infant Eros, the God of love.

More classic and refined is a fresco depicting the Virgin and Child.

But gift ideas for children can also include landscapes or flowers, subjects that symbolically express the charm and innocence of their age.

A classic and very refined subject: a Mariani fresco depicting the Virgin and Child

To make each gift unique, Mariani can personalise the fresco with the name of the child receiving the gift.

VENTO D’ORIENTE: MARIANI AFFRESCHI VI ASPETTA ALL’INTERIOR LIFESTYLE DI TOKYO

L’arte, la cultura, le antiche tradizioni, la passione per la cucina, la storia.

Nonostante la distanza geografica, sono molti gli aspetti che ci avvicinano al mondo giapponese. Dell’affascinante stato dell’Asia orientale ci incuriosisce la filosofia, il loro modo di affrontare la vita alla ricerca di equilibrio e bellezza, le loro particolarissime tradizioni, la loro grande passione per il lavoro. Nello stesso modo i giapponesi amano l’Italia e lo vediamo dalla presenza sempre più importante di turisti nelle nostre città, ma anche dalle nuove influenze artistiche, culinarie, culturali.

Lo stand di Mariani Affreschi all'Interior Lifestyle di Tokyo

Amanti del bello, i giapponesi non nascondono il loro amore per quegli oggetti ricchi di tradizione artigiana e storia e quindi anche per gli affreschi.

Dal 2 al 4 giugno a Tokyo si svolgerà l’Interior Lifestyle, la grande fiera che mette in vetrina le novità per la casa e per gli articoli da regalo.

Da oltre sei anni Mariani Affreschi partecipa alla manifestazione giapponese, un evento, come ci spiega Alberto Mariani, in cui l’azienda bresciana crede molto perché il mercato asiatico è una buonissima piazza dove confrontarsi e trovare nuovi clienti.

Gli angioletti in un delizioso affresco firmato Mariani: un soggetto molto amato dal mercato giapponese

“La fiera è organizzata da noi, insieme al nostro partner giapponese, la signora Shoko Ujino dell’azienda Gallery Sumire. Questa collaborazione è importantissima per creare le giuste sinergie con il paese orientale. I giapponesi amano i nostri affreschi, soprattutto alcuni soggetti come i paesaggi, gli angeli, la rappresentazione di opere classiche”. L’azienda bresciana è molto legata al mercato giapponese, tanto che, oltre a numerosi lavori speciali realizzati per centri commerciali, ristoranti ed hotel, è fornitore ufficiale dei Grandi Magazzini Mitsukoshi, dove una volta all’anno, ad aprile, viene realizzato un grande evento promozionale.

Il paesaggio è uno dei soggetti che più apprezza il pubblico giapponese

Non potete mancare, quindi, alla fiera di Tokyo, un punto d’incontro, dove potrete conoscere tutte le novità di Mariani Affreschi e immergervi nel mondo del made in Italy. Saremo presenti all’Italian Pavilion (Stand I 2 – 23).

Vi aspettiamo!

THE POETRY OF A KISS

Some paintings leave an indelible mark in the history of art. The Kiss (1907-1908) by Gustav Klimt is without a doubt one of these. Maybe it’s the tender gestures, the harmonious colours, and original poses. What is certain is that this type of painting stirs emotions and captivates us, making us feel as though the image has always belonged to us.

A detail of “the Kiss” (1907-1908) in a Mariani fresco

The woman abandons herself to be kissed by her man, who tenderly holds her face in his hands: a love scene that we have all experienced at least once in our lives. This familiarity brings us inside the painting and makes it universal. The special nature of this painting not only moves us each time we see it, but also means it can adapt to any type of setting: a bedroom or living room, a classic or modern home.

These pictures show the fascinating interpretation by one of Mariani’s painters who briefly tells us about how the fresco was created.

All the poetry of a kiss: here is the finished fresco created with the strappo technique by one of Mariani’s artists

How did you approach the composition of this painting?

The technique used was the traditional “strappo” method. To embellish the work, we applied gold leaf. To apply the gold leaf, a base of red oxide must first be prepared. A mission, which is basically a gluey liquid, is then applied onto this base. The golf leaf is then applied once this mission has dried. To add value and prestige to one of my frescoes, I added a frame decorated with gold leaf. Swarovski crystals can also be added to make it even more special.

What is interesting about interpreting a work like “The Kiss”?

Love is a universal theme that captivates and fascinates everyone. Klimt succeeded in creating such an important subject matter in such an original way. Despite the rich decorative elements, the human dimension of the two people transpires, which is what affects us the most.

What difficulties did you have in creating it?

Just the fact that the painting is very famous makes the interpretation difficult because you are dealing with a real “maestro”. The facial expressions are very important, the position of the hands and fingers are a complex aspect of the composition. The most important thing is to convey the tenderness and subtleness of the gestures.

A frame decorated with gold leaf embellishes the fresco and makes it even more special

Where can this fresco go?

In a classic bedroom or a modern living room. This painting can be placed anywhere because the geometric designs and colours allow it to adapt to any type of environment. It also makes a special gift for a couple or even the birth of a child.

NEWS ABOUT MARIANI AFFRESCHI’S PARTICIPATION IN THE 2010 SALONE DEL MOBILE

The wonders of the sky are endless. Whether a fresco by Tiepolo, a springtime subject, or a more geometric theme: a ceiling fresco “silently” and elegantly decorates any type of environment, always yielding new surprises. These emotions are felt on entering the Mariani Affreschi stand at the 2010 Salone del Mobile.

The marvels of a frescoed ceiling: a picture of the Mariani stand at the 2010 Salone del Mobile.

The company once again took part in the international furniture fair. “We are satisfied,” declares Alberto Mariani, “we received a lot of visits despite the volcanic cloud. The Milan Salone del Mobile is an exclusive showcase for our sector”.

Alberto, who is co-owner of the Brescian company together with Alessandro and Laura, could not hide his enthusiasm. “The Salone del Mobile,” he continues, “is the ideal place for meeting new buyers. This year saw a greater turnout of Asian buyers compared to past years, which is an excellent starting point for acquiring new markets.”

New markets do seem to exist and the Milanese event is an excellent occasion for making new contacts. But a company needs to be adequately prepared to satisfy the tastes and expectations of such different countries.

A scene by Tiepolo in a Mariani fresco, a classic and much loved subject

Mariani has always dealt with companies outside of Italy, and once again in this respect, it proved to be a winner.

The magical Audrey Hepburn in a fresco by Mariani (Source: Evgeny Utkin, Expert)

“Foreigners,” explains Alberto, “love classic subjects as well as design articles such as Marilyn or Audrey, black and white with Swarovski. Italians loved our new subjects from the Liberty collection and the Tiffany line. The classic fresco reinterpreted with fresh colours and a gold-leaf finish was also a hit.”

As already mentioned, among the new products exhibited at the fair, Mariani Affreschi presented some frescoed ceiling models, one of the leading products of the company. “This very useful interior decorating solution, explains Mariani, “is very popular. Some special and new subjects, such as the “Mille Miglia” car and the golfer’s collection, were also a hit at the fair.

The frescoed lift also aroused a lot of interest.

Some new Mariani Affreschi products at the 2010 Salone del Mobile: Golfers and the Mille Miglia

We cannot complain about the Milan fair, we perceived many signals of a recovery and this gives us the strength to look ahead with the passion and desire to keep doing what we are doing, as we have always done”.

M.Z.

GIOTTO’S FRESCOES: TECHNIQUE AND SOLUTIONS

As a finishing touch to a fresco, we talk about “tempera a secco” or the use of lime, in other words, a fresh medium; even the veils of glaze applied at the end of the working day can contain organic binders. This composite technique (lime and organic tempera) is used on the “pontate” (the so-called day’s work) where pure carbonisation was only a base of the work. With the “giornate” technique, the auxiliary tempera was put to one side, but not completely abandoned. Auxiliary tempera was used by Giotto, Simone Martini, Ambrogio Lorenzetti, etc.

Giotto, “Marriage at Cana,” the Scrovegni Chapel, 1303-1305

It is not easy to identify on first sight a pure fresco from one painted using the “secco” technique, even more so if time has consumed and levelled the chromatic surfaces, but a careful examination of the density of the layers and their behaviour over time allows us to understand many things. An example is Giotto’s fresco in the Bardi chapel: the Church of St Croce in Florence, where St Chiara’s clothes were formed using auxiliary tempera on top of a frescoed outline.
An explanation for this comes from the fact that the extensive laying of the plaster, which took in the entire image, required more working time than that available for true fresco painting. For this reason, Giotto resorted to using an auxiliary for continuing the work in the following days.
The Scrovegni Chapel in Padua contains Giotto’s “The Mission of Gabriel” which uses auxiliary tempera. Due to water infiltrations and relative contaminations, what we notice is the total loss of the secco tempera and the partial loss of the clothes painted with auxiliary tempera, while the “buono fresco” (true fresco) remains reasonably well intact on the heads and hands and outlines.

Giotto, the Crucifixion, Scrovegni Chapel, 1303-1305

Giotto created his frescoes based on his complete knowledge of the “lime” material and its carbonisation process. The most resistant was the buono fresco, followed by the auxiliary tempera obtained with the addition of milk or casein. Once the plaster was dry, the painting was completed “a secco” with the colours that could not resist the alkali environment of fresh lime-based plaster such as blue, copper green, red lead, lake red, and binders with egg or pigment glue.

Giotto, Adoration of the Magi, Scrovegni Chapel, 1303-1305

In the end, the painting was embellished with metals in leaf: tin, golden tin, gold, resin and oil. These techniques had varying degrees of resistance: the most resistant was the shiny stucco and the fresco paint, while the auxiliary tempera was less resistant. The egg and glue-based tempera was very vulnerable in damp areas and very weak in the dry parts. The gold was well preserved, while the golden tin has darkened without losing its hold.

A FRESCO FOR GOLFERS

Everyone knows that passions are passions. And when they involve sports, then they can become real love affairs. The love of golf is one of these. Italy has many golf lovers, both professionals and amateurs, especially since it has some beautiful golf courses.

The passion of golf in a fresco by Mariani

Mariani Affreschi has created a special new collection of golf-themed frescoes especially for lovers of the green. Not contemporary scenes, but fascinating portraits of players from the early 1920s.

“We presented the new subjects in Milan during the Salone del Mobile,” explains Alberto, “and the response was very positive. We know that there are many golf lovers and we wanted to create ad-hoc subjects that could add something special to a home, office or study. It is also an excellent idea for a special gift”.

Certainly, there is no shortage of ideas in the hothouse of Mariani’s frescoes, where numerous artists dedicate themselves with passion to create unique pieces. To learn more about this topic, I spoke to the creator of these golfing subjects.

What is the philosophy behind these frescoes?

The idea is to recapture the spirit of the 20^th century illustrations and classic photographs depicting golfers dressed in Scottish attire. Scenes of the everyday life of noblemen who had parties on the threshing floor and then organised these sporting events.

Details of a golf-themed fresco created by an artist at Mariani Affreschi

What type of technique and colours did you use to create them?

The colours are those typical of the era, such as sepia which mainly characterised illustrations of the late 19^th century. The “strappo” technique was used to create the fresco, a method that, among other things, helps to give the work an aged look and a romantic flavour.

For golf lovers, a fresco inspired by players of the 1920s created by Mariani Affreschi

AN ANGEL TO WATCH OVER YOUR HOME

They are sweet, have lovely kind faces and everyone loves them, especially children. We are talking about angels, a pictorial subject that has always been depicted by artists. They not only add warmth and youthfulness to our homes, but can also have a special symbolic meaning for those who believe.

Putti with flowers, a fresco created by Mariani Affreschi

In many religious traditions, an angel is a spiritual being who helps and serves God (or the gods). The term comes from the Latin word “angelus”, which in turn comes from the Greek word αγγελος, ánghelos meaning sender or messenger. The figure of the angel is often depicted with putti, a word that in the field of art refers to a naked baby or toddler, usually male and having wings.

A delightful fresco depicting a pair of Cherubs by Mariani Affreschi

The subject of the putto was used in allegorical portrayals or purely for decorative purposes in a repetitive form. From ancient times to the present, the putto was used to portray the baby figure of Eros, the God of love, who in this form is known as a cherub or cupid.

Angels, putti or cherubs are perfect fresco subjects for decorating settings such as a children’s bedroom, but also the entire sleeping area.

Part of “The Adoration of the Shepherds” by Nicolas Poussin (1594-1665) in a Mariani fresco

“Frescoes depicting angles,” explains Alberto Mariani, “not only decorate our homes, but also make the perfect gift for a birthday or special occasion such as a baptism or confirmation. The fresco can be personalised in our laboratory by writing the name of the child on the ribbon held by the angels”. This elegant and timeless gift is a reminder of our sweet childhood years and will be cherished for years to come.

M.Z.

THE TRIUMPH OF BACCHUS AND ARIADNE

Springtime, long sunny days, and romantic walks in the open air. Is there a better subject than the Triumph of Bacchus and Ariadne to accompany us on another journey into fine fresco painting?

The original version of this very famous painting was created by the Italian painter Annibale Carracci (between 1597 and 1600) and is now preserved at Palazzo Farnese of Rome.

Working on the painting in the Mariani Affreschi laboratory

The mythological piece depicts a bridal procession in which the bride and groom, Bacchus and Ariadne, are seated in two carriages, a gold one pulled by two tigers and a silver one pulled by two rams. The bride and groom are accompanied by dancing figures carrying musical instruments, tableware and baskets of food.

The images allow you to admire the special and intense work that went into creating the painting by two Mariani Affreschi artists. “The fresco,” explains Alberto Mariani, “was ordered by a studio in Moscow for one of its wealthy private clients. It is a very large painting measuring 230cm x 420cm. The piece was painted using the fresco technique in our laboratory and then stripped off and transferred onto canvas with the Calicot technique. Therefore, it is an authentic fresco made with the age-old technique passed down through history using truly captivating colours and intense subjects.

The two artists working together to create the fresco “The Triumph of Bacchus and Ariadne "

Someone may be asking themselves, how was it possible to send this painting to the client? Alberto Mariani explains.

“The fresco was delivered without a frame, rolled up together with the special glue so that the client could have it applied to the ceiling by local artisans. The painting was much appreciated and the two artists worked together closely, each occupying themselves with their own “piece” and dividing the female and male figures for ensuring artistic homogeneity”.

The finished product: a splendid work created with great handcrafted skill by talented Mariani Affreschi artists

“PRECIOUS” FRESCOES: A PREVIEW OF THE NEW MARIANI FRESCOES AT THE 2010 SALONE DEL MOBILE

Preparations are in full swing for the most anticipated fair of Milan that, from 14 to 19 April, will transform the city into the world capital of design and decor. Like every year, Mariani Affreschi is ready to present its new collections and offer us exclusive and original ideas for decorating our homes.

The common thread that distinguishes the Mariani creations for 2010 is the perfume, lightness and colours of spring with a preference for white.

A Mariani fresco depicting a painting by the Czech painter and sculptor Alfons Maria Mucha (Ivančice, 24 July 1860 – Prague, 14 July 1939)

“We thought,” explains Laura Mariani, “of a sweet and delicate home dominated by soft relaxing colours such as powder blue, camel, gold and cream. The main colour is white. There is a desire for renewal, youth and beauty. We look for them in our everyday lives and bring them into our homes.”

“Therefore, the new features of the Mariani collections are frescoes with neutral and relaxed tones that add colour to classic or modern homes making them precious with some special touches,” continues Laura.

Mucha’s women and flowers in a fresco by Mariani

“Precious decorations are another important aspect of our Mariani pieces. Small mother-of-pearl applications that require specific handcrafted mastery will be used as jewels on the clothes and hair of Liberty subjects. This new feature is further enhanced by other applications such as Swarovski and silver leaf.”

These precious applications will ornate the Mariani works, in particular, the subjects of Liberty-style paintings, where the lightness of the graphic figures merge beautifully with the special pictorial technique, full of history and charm.

Delicate shades and refined subjects meet in a Mariani fresco depicting a work by the Dutch painter Lawrence Alma-Tadema

Mariani Affreschi looks forward to showing you its new collections at pavilion 4, stand F05/G06.

M.Z.

A FRESCO IN A LIFT? WHY NOT

One often thinks of a fresco as just a painting, but in actual fact, there are numerous applications for this pictorial technique.
Just look at the splendid lift created in an old farmstead in Brescia. It is an interesting example of the versatility of a fresco, which can be used as a decoration to cover any type of element, from ceilings to the inside of a shower. To find out more about this special application, I spoke with Alberto Mariani, co-owner of Mariani Affreschi, together with Laura and Alessandro.

What difficulties do you face when creating a fresco in a lift?
The hardest thing is to find the right theme (and colours) that adapts well to a small space and that, above all, enhances the atmosphere. The decorative theme was chosen with the intention of giving the area an atmosphere that was not too overbearing.
The short distance between the observer and the fresco calls for very well thought-out artistic choices.

What choices were made for this fresco?
We used a light background in order to “lighten” the context. The polychromatic decor, full of details, gives a touch of class to the walls of the cabin. The observer is captivated by thousands of precious details, but does not feel “overpowered” by the work, on the contrary, they are mesmerised by its beauty and harmony, feeling at ease even in one square meter of space.

And from a technical viewpoint?
Special attention is required in this sense, especially during the design and planning phase. It is fundamental to make a precise relief of the modular sections and to paint various frescos, which are then glued onto the panels of the cabin, ensuring that they are perfectly joined together. This step does not require the work of an artist, but of a scrupulous technician who can accurately measure and “read” the context.

Hence, a fresco is much more than just a painting?
There are numerous applications for a fresco in the field of “coverings”. Contrary to what most people think, a fresco painting is very resistant and easy to maintain: it can be cleaned with water and a cloth, just like any other material.

What makes a fresco resistant?
Frescoes produced at Mariani are always authentic “strappo” frescoes, which means the colours are “calcified” (in technical terms, “carbonated”) in the plaster and therefore, are no longer soluble. They cannot be ruined by water or humidity. The effect of light and other agents is minimal compared to other painting techniques.

The subtlety of the fresco gives the area a new atmosphere and makes the space appear larger

EXCLUSIVE DECORATIONS FOR A CLASSIC HOME

We are in a delightful Milanese apartment inhabited by a couple who love antique furniture, classic decor, and the search for sophistication and elegance.

Glimpses of the sky, flowers, refined Greek key patterns and designs: a ceiling by Mariani Affreschi for a Milanese home

Prized carpets cover the floor, couches with elegant upholstery frame the living room, and exclusive furnishings give that extra special touch and enrich the setting, making it unique and exclusive.

In this space of absolute elegance, the owners enlisted the services of Mariani Affreschi to complete the scenery of the home.

Working directly on site, the artists have created a precious decoration on the entire ceiling, inspired by a neoclassic decorative style that evokes lightness.

Antique furniture, prized carpets, exclusive furnishings. The ceiling decoration by Mariani is inspired by a very elegant neoclassic decorative style

Glimpses of the sky, flowers, elegant Greek key patterns and designs: all harmonising perfectly with the style of the home. This subtle intervention embellishes without “weighing down” the entire effect and pleasantly goes with the rest of the decor, making the unique interiors of the home even more welcoming.

M.Z.

FOR A YOUNG HOME

Who said that a fresco cannot stay in a minimal or contemporary home?

Not at all. Young people really like frescoes because they love playing with contaminations and know it can be interesting to decorate a home with different styles and languages that, as a whole, express their way of living.

The interior of a private villa: the walls are decorated by two Klimt frescoes

Of course, they have their favourites. Let’s say that the most popular frescoes are those in the Liberty and Tiffany styles: portraits of movie stars such as Audrey Hepburn and Marilyn Monroe, pieces that evoke the imagination of fifties and sixties legends, but also more complex works, such as those by Klimt or Leonardo. To learn more, I had a chat with Alberto Mariani, co-owner of Mariani Affreschi together with Laura and Alessandro.

What do young people think about fresco paintings?

Until a few years ago, customers perceived the fresco as a “classic” product. But now, the search for new subjects and the introduction of more contemporary styles have won over those who prefer a more modern style.

The beautiful Marilyn Monroe in a fresco by Mariani

What can one of your frescoes give to a modern home?

Whether a fresco is classic or modern, depending on the choice of the young people (for artistic or decorative purposes), a fresco can add warmth to a modern home without in any way upsetting the basic lines desired by the architect.

The fresco is an absolutely natural technique: in the colours, shadings and chromatic emphases. That’s why a fresco, whether classic or modern, goes perfectly in a contemporary setting. Without neglecting the fact that the style of a home must, first of all, harmonise with those who live in it.

The interiors of a modern home: hanging on the right wall is a fresco of Leonardo’s “Vitruvian Man”

Therefore, one can also take a risk?

It should be remembered that the greatest satisfactions have come from young people who have made courageous choices, who have mixed styles and were not afraid to insert a classic piece in a modern setting, thus obtaining original and surprising results.

Even the most diehard advocates of minimalism understand that the strength of colour and artistic beauty in absolute terms does not destabilise modern lines or criteria, but in actual fact, enhance their originality.

M.Z.

THE PERFUME OF SPRING IN A FRESCO

March is the month of flowers. The first daisies start to bloom and we wake in the morning to the sweet sound of birds singing. Spring, just like autumn, is a transition season that has always inspired painters, poets and artists. The representation of flowers is defined in “still life” painting, and the floral expressions can be joined by fruit, but also a variety of different objects, such as musical instruments.

A floral fresco with musical instruments by Mariani Affreschi

Decorating a room of your home with a floral fresco is a much-loved idea. This design goes well with almost any interior decor, preferably classic, but also in a modern setting where it can add warmth.

To learn more about this theme, I interviewed one of Mariani Affreschi’s artists.

Spring time, all the magic in a fresco (by Mariani)

What inspires you when painting a floral fresco?

I love flowers and know them well. In my case, it is a real passion and, however, to create these types of representations you need to have a certain amount of sensitivity towards nature and allow yourself to be inspired by its perfume, colours and beauty.

In the history of painting, which artists specialised in still life?

Surely the Flemish artists. Their still life paintings are minute and very detailed, to the point where you can actually see the veins of the leaves. However, all painters have experimented with still life. Caravaggio saw still life as “the imperfection of life”. Impressionists painted “en plein air” (in the open air) directly in the meadows to “capture the moment”. Expressionists attempted to reproduce the soul of objects.

A perfect example of a floral fresco in a modern home

Where can we put a floral fresco?

It piece adapts well to most settings. In a classic home, a country home, and why not, even a modern home, to give a touch of colour and poetry.

M.Z.

JUST LIKE A STARRY SKY: CEILINGS DECORATED WITH GOLD LEAF

“The entire sky is populated with stars, very small and immense. They are points of luminous embroidery sparkling on a dark velvet backdrop, conspiring on a transparent veil, growing dimmer on pale blue silk. They are glow-worms wandering across never-ending meadows in continuous, tireless palpitations”.

These words were written by the children’s book author, Giuseppe Fanciulli.

In this quote, I liked the idea of the stars being “points of luminous embroidery”.

It adds beauty to the environment and makes the space unique: a ceiling decorated with gold leaf by Mariani Affreschi

Embroidery is nothing more than a decoration and today we will examine the magical atmosphere created by ceilings decorated with gold leaf. We are talking about pure craftsmanship.

When creating this type of fresco, the artist first does a freehand drawing of the decoration directly on the ceiling. This delicate operation comes from the painter’s imagination and the customer’s requests, but also from the size of the area to be decorated.

The artist prepares to freehand draw the decoration

The motifs are inspired by classic tradition, but every work contains the artist’s special stroke and what inspired him at that moment.

After creating the “embroidery,” the gold leaf is applied on the decoration itself or on the background. In this latter case, the decoration is created using chiaroscuro colours. The decorations are then outlined to exalt their shape and contrast with the gold.

The artist applies the gold leaf

The last touch: the profile of the gold leaf and the ceiling is a work of art

The artists at Mariani Affreschi have decorated ceilings with gold leaf in private homes or public places throughout the world. Part of the company’s philosophy is to promote the sense of uniqueness that belongs to every handmade work and that has always distinguished good Italian craftsmanship.

To understand the beauty of these frescoes, just look at the photos.

A ceiling of a private home with a gold leaf fresco

DESIGNER LANDSCAPES: THE COLLECTION BY MARIANI

They recount nature and its colours, they delight us each day and give the environment a warm, delicate and refined atmosphere. They are the landscapes of winter, summer and spring with the romantic shades of autumn, which in any version or format make us dream and add a special touch of contemporary and modern look to any home.

A beautiful landscape by Mariani hanging in a living room

For years, Mariani Affreschi has been dedicating itself to these much-loved subjects and its artists have created a collection specifically dedicated to this enduring theme. Drawing inspiration from the fascinating Venetian villas, from gardens and settings, an art maestro from Mariani has created a vast collection of fresco paintings, inserting colours that bring to mind white stone, rose-coloured marble, green parks and hills.

“We decided to create a collection of “trompe l’oeil” frescoes,” explains Laura Mariani, “because they represent a timeless pictorial genre that creates a romantic effect in any home, adding colour, beauty and luminosity to the rooms.

Sprays of wisteria, ivy, references to old Venetian villas, romantic scenes, dream-like settings. These “touches of reality” in the form of a fresco painting decorate our homes and make them even more beautiful and interesting”.

The soft and shaded colours, the luminosity of the fresco, the magic of the landscape created by a Mariani Master of Art

Although most painters from the 17^th to 18^th centuries used oil as a medium for these types of subjects, the emotions that a landscape fresco gives us is unrivalled: the lightness of the colours coming from the rapid brush strokes, the subject that is not overly defined, the atmosphere suspended between dream and reality. These technical aspects make the work more enjoyable and give us the sensation of actually being in the painting, just as if we are walking among the hills, feeling the warmth of the sun and smelling the perfume of the wind.

M.Z.

MARIANI AFFRESCHI DECORATES THE “SALA DEGLI SPOSI” (HALL OF THE BRIDE AND GROOM) OF VILLA GIULIA IN ISCHIA WITH GEORGE BARBIER

They talk about love. They symbolically express the union between a man and a women and evoke one of the most beautiful days in a person’s life, their wedding day.

To decorate and embellish the “Sala degli Sposi” of Villa Giulia in Ischia, the Leonessa family placed its trust in the artistic skills of Mariani Affreschi, whose artists painted some frescoes in one of the marvellous rooms of the Neapolitan residence.

L'Avance - George Barbier

The frescoes were created using traditional age-old techniques and depict some subjects by George Barbier. The choice of the subjects aims at narrating the art of seduction and courtship, a theme that has always been popular with artists throughout the ages and the perfect backdrop for the “Sala degli Sposi” of Villa Giulia.

The works were hand painted by fresco masters and every scene was reinterpreted by following the personal touch and emotions of each artist.

The beauty of these frescoes is not only in the design that reproduces the art of Barbier, but also in the special interpretation, which makes each piece unique and inimitable.

Some embellishments were added to make the works even more fascinating, such as Swarovski stones on the dresses of the women, the silver moon and other precious touches.

Oui - George Barbier

Who was George Barbier? Barbier was born in Nantes, France, in 1882. At the beginning of his career he designed theatre and ballet costumes and became famous as a fashion illustrator. For twenty years he led the Ecole des Beaux Arts. Barbier also turned his hand to jewellery, glass and wallpaper design. He wrote many essays and articles for the prestigious Gazette du Bon Ton. In the 1920s he worked as a costume designer for the Follies Bergere.

Barber died in 1932 at the very pinnacle of his success.

M.Z.

THE ELEGANCE OF A ROOM DIVIDER

This element does not usually come to mind when designing a house because we are too caught up in the “big projects” of building a house such as the electrical wiring, lighting, choice of floors and layout of the spaces. But, it is precisely during the planning phase that one should think about some specific elements that could help us save time, money (and cement) and resolve any problems relating to the arrangement of the rooms. If we then add the fact that this element could enhance the spaces even further, then there should be no doubts.

A frescoed room divider depicting a landscape created by an artist at Mariani Affreschi

A frescoed room divider is an excellent solution for dividing some spaces (without having to build a wall) but also for decorating and enhancing the rooms. The type of room divider plays a fundamental role here, and certainly, a frescoed divider can stir special emotions compared to, perhaps, a printed room divider or the like.

Let’s remember that the technique of fresco painting is an age-old method that allows reliving timeless masterpieces through the colours and skill of the artist who recreates the work.

This time the subject is a woman in Liberty style by Mariani Affreschi

The photos show some creations by Mariani Affreschi: from a classic work such as an elegant and refined decoration created using the “strappo” technique and finished in gold leaf with a satin veil on the back, through to a variety of different subjects such as liberty-style women and landscapes.

M.Z.

A REAL FRESCO NEVER TIRES

Reflections are always important. Reflect, learn, and understand what is behind things: these are all actions on which to lay the foundations for living a knowledgeable and complete life.

That’s why, in this article I will briefly linger on – as I have done in the past – the concept of authenticity of a fresco. In particular, we will try to understand why the use of the “strappo” technique is so important for a fresco to be called such.

I first want to clarify what we mean by a fresco. A fresco is an artistic product that boasts a thousand-year old tradition and that does not know and cannot know mass production methods. Therefore, each fresco has an ancient history that should never be forgotten and that increases the exclusive and prestigious value of the product, even if it is painted in 2010.

Artists working at the Mariani Affreschi laboratory

In order to respect the history of this fascinating product we must imitate the original techniques and one of these is the “strappo” technique. Michele Comini, art technician at Mariani Affreschi, explains this technique to us. “After creating the fresco and waiting for the painted plaster to dry completely, a canvas is glued onto the latter and then “stripped” from the wall. In this way, a canvas is obtained on which remains stuck a “negative” version of the painting. The next stage is called the “retrieval” phase and involves transferring the “positive” of the painting. A second canvas is glued to the back of the stripped canvas, the first glue is dissolved, and the first fresco is detached. In this way, the fresco remains transferred onto the second one”.

Now that we know what this technique involves, we can delve further into the topic, and to help us we have one of the owners of the Brescian Company, Alberto Mariani.

How can you tell the difference between a real fresco and a false one?

It is very hard to see any distinctions with the naked eye, only an expert can see the differences. Generally, the colours are less natural, but the observer must have an actual comparison. The differences can be seen, nevertheless, over time: the false fresco is not very resistant to factors such as light, humidity, water, atmospheric agents, and the colour loses substance. At times, even in excessive climate conditions, the colour may detach from the canvas. The only basic difference between a real fresco and a false one is that the real fresco must be painted on a layer of fresh mortar, using the lime as a binder and the earth as the colours. It can only be painted when the plaster (mortar) is wet.

The strappo technique by Mariani Affreschi

Why is the strappo technique fundamental for a fresco painting?

An authentic fresco must indubitably be created on a wall, and therefore cannot be easily transported and repositioned in a home like a decorative element. The strappo allows removing only the colour and makes the painting easy to transport. Therefore, the painting becomes a marketable item, maintaining the chemical-physical properties of a wall fresco, but with the new fundamental characteristic of being on a canvas and of being considerably lighter, which allows it to adapt to any type of interior design requirement.

You are one of the few companies that still create “hand-painted” authentic frescoes. Why?

Because this makes us stand out from the mass, allowing us to be identified as a leading company in a specific market niche that we know very well; this means giving our customers an authentic product with all the relative advantages: beauty, resistance, authenticity. What’s more, the chemical reactions that occur during the creation of a real fresco (such as carbonatation of the colour) give the colours a soft and natural nuance which is incomparable, and makes them extremely resistant over time. As our father, founder of the company, always said, “the secret of a fresco is that you never get tired of it”.

M.Z.

SPRING IS IN THE AIR: THE NEW TRENDS FOR 2010

Mariani Affreschi was also at the MACEF of Milano.

Together with eighty or so companies, the owners of the Brescian Company found themselves in pavilion 9 for a wonderful and exclusive event called “Casa in Fiore” (the House in Bloom).

The project presented by the Classico Italiano Group of Federlegno-Arredo and coordinated by the architect, Barbara Villari, brought together all the leading companies in furnishing accessories, furniture and kitchens, as perfect testimonials of the best Italy has to offer. The new products exhibited at “Casa in Fiore” were created according to a very specific theme: spring.

A work by Mariani Affreschi exhibited at “Casa in Fiore” during the 2010 MACEF exhibition

“The choice of the main theme fell on spring,” explained the architect, Ms Villari, “Because it strongly evokes concepts such as rebirth, nature, freshness, optimism, which are all very topical aspects of our way of living, producing and consuming. What’s more, this theme allows us to easily exhibit a wide range of products and styles for a very eclectic home, contaminated by classic and contemporary design objects”.

Therefore, these expressions will influence furnishings for 2010. A trend fully shared by Laura Mariani who explains to us her idea of spring in the new Mariani fresco paintings. “There is the desire for freshness, for sweet and perfumed evenings, for classic products, considering everything that we have been through.

Spring flowers and perfume: the new trends in a Mariani fresco painting

Light colours, white, champagne: delicate and soft nuances, refined but never predictable. With extreme subtlety, classic objects are combined to high technology, because we cannot forget the present in which we live. The flower theme returns to our frescoes, together with the liberty style, delicate shades, white, gold, decorative elements. And so, a classic painting such as “Spring” by Botticelli is reinterpreted in a modern style and is enriched with crystal flowers, polished stones, Swarovski, a glittering of art, beauty and hope.”

There is a growing desire for optimism, basically, for looking to the future while taking into consideration the valuable heritage of the past. This desire translates itself into the artistic production of our country that is known worldwide for the talent and skill of its artisans.

Who, I truly hope, will continue to surprise us.

M.Z.

WE LOVE ITALY: THE JAPANESE PASSION FOR THE “BELPAESE”

They love our cities, especially Venice, Florence, Rome and Milan. They love them for their history, landscapes and views, for their food (especially, pizza), art and also for the shopping.

Mariani Affreschi’s stand at the Mitsukoshi Department Store (Nihombashi, Tokyo) during the Italian Cultural Week

In actual fact, on reflection, the Japanese and Italians have a lot in common: apart from of the big sushi boom now infecting most of Italy, we can say that the desire to live and the positivity towards life and the world are feelings shared by both countries.

This aspect of the Japanese culture is also reflected in its artistic passion, which is embodied in their desire to bring the flavours, perfumes, history and forms of beautiful Italy to their cities.

A few years ago, Mariani Affreschi was hired to decorate the new “Porta” shopping centre that connects the Yokohama station to the city centre.

The interiors of the "Porta" shopping centre in Yokohama: the ceiling frescoes by Mariani

The splendid frescoed ceilings, which decorate the sky in the Japanese stores, recount and evoke the history and beauty of our country: there are images of piazzas and art cities, landscapes and breathtaking views, representations of traditions, habits and customs, all Italian, the shops where our grandparents worked, the rebuilding of the 1950s, the golden period and the legendary Sixties.

But there are also the protagonists of the history of world art and, in particular, the Renaissance: the works of Michelangelo, Leonardo, Raffaello.

These scenes of Italian life, brought together in a frame of frescoes with musical angels, decorate the inside of the Japanese shopping centre and recapture their tastes: the love of life and bright colours, the passion for landscapes and harmony.

The interiors of the prestigious Shopping Mall of Yokohama dedicated entirely to Italy

These elements are also an expression of the character of the people, always friendly, positive and searching for a balance with the world.

M.Z.

COME SI REALIZZA L’AFFRESCO (PARTE TERZA)

Un artista della Mariani Affreschi durante l'esecuzione di un paesaggio ad affresco

Dopo aver eseguito lo spolvero, stando attenti a non sporcare la giornata precedente, si disegnano i contorni con una tinta scura ma non troppo carica (es. terra d’ombra naturale) si cominciano a stendere i toni di base e le campiture, in questo momento il muro assorbe perfettamente ogni pennellata, permettendo così di definire i particolari e le sfumature.

Finito questo “momento magico” in parte prolungabile spruzzando di frequente acqua sull’intonaco, senza però renderlo mal fradicio, conviene passare rapidamente alle velature; è bene non esagerare altrimenti si finirebbe con l’appesantire troppo il dipinto.

Al termine della giornata il muro comincia a respingere il colore, le pennellate diventano irregolari e cominciano a colare: è il momento di smettere.

Anche durante le giornate successive sarà bene bagnare l’intonaco già ultimato affinché la calce non aggredisca eccessivamente i colori asciugando troppo rapidamente, o se l’ambiente è troppo asciutto, non si screpoli.

Quando si pensa ai dipinti eseguiti ad affresco, spesso si nota una gamma cromatica limitata rispetto ad altri tipi di pittura, ad esempio l’olio o la tempera o le vernici acriliche.

La tavolozza del “frescante” è costituita da colori con requisiti particolari proprio per il tipo di legante impiegato, la calce, che per la sua forte alcalinità è molto selettiva.

I pigmenti per l’affresco devono essere chimicamente stabili, privi di componenti acide. Organiche o inorganiche che tenderebbero a reagire con la calce alterando o decomponendo la tinta.

Un artista della Mariani Affreschi durante un'intervento ad affresco presso il Castello di Montalfeo di Pavia

Il pigmento ideale, in polvere fine ma non microscopica, è una terra naturale del gruppo degli ossidi o degli idrossidi, dei metalli di transizione come nel ferro, l’alluminio o il manganese, ecc.

A questa categoria appartengono le numerose ocre, gialle o rosse, stabili e resistenti alla luce.

Alle terre naturale appartengono anche alcuni composti chimicamente diversi, prevalentemente silicatici o misti ad ossidi e idrossidi.

I pigmenti di questo tipo sono le terre d’ombra e le terre verdi, sufficientemente stabili, anche se tendono a schiarire durante la carbonatazione.

Tra gli altri tipi di pigmento utilizzabili in affresco vanno ricordati i colori di origine minerale quali il lapislazzulo, la malachite, il blu cobalto.

Tra i colori di origine organica compatibili i più affidabili sono il nero di vite e la terra di Kassel.

Esistono poi alcuni colori di sintesi utilizzabili in affresco con la dovuta cautela, ad esempio i gialli e i rossi di Cadmio.

Il bianco S.Giovanni è un grassello purissimo, invecchiato almeno cinque anni, essiccato e macinato finemente; è un bianco stabilissimo conferisce resistenza a tutti i pigmenti con cui è mescolato.

Vanno evitati tutti i colori contenenti metalli pesanti, acidi, solfuri, sostanze organiche naturali o di sintesi.

Un' artista della Mariani Affreschi durante l'esecuzione di un tendaggio trompe l'oeil ad affresco

Al momento di preparare le tinte bisogna tenere presente che asciugando si attenueranno in modo non sempre uguale fra pigmento e pigmento, in virtù delle caratteristiche del colore usato, della quantità, della densità della tinta preparata.

Sull’affresco il colore deve asciugare lentamente, per questo è utile bagnare il muro anche nei giorni successivi alla lavorazione.

Dopo pochi giorni si riescono ad apprezzare i maggiori cambiamenti anche se la maturazione dell’affresco si compie nel giro di 50/60 anni.

ENJOY THE SPIRIT OF CHRISTMAS THROUGHOUT 2010

“I sometimes think we expect too much of Christmas day. We try to crowd into it the long arrears of kindliness and humanity of the whole year. As for me, I like to take my Christmas a little at a time, all through the year. And thus I drift along into the holidays, let them overtake me unexpectedly, waking up some fine morning and suddenly saying to myself. “Why this is Christmas Day!”

Adorazione Gherardo delle Notti (1590-1656) Uffizi (Firenze)

These thoughts on Christmas were written by the American journalist Ray Stannard Baker (1870-1946), friend and adviser of President Wilson (Winner of the 1919 Nobel Peace Prize).

This idea is full of messages that we would like to share with you this Christmas, to exchange greetings, but above all, to usher in 2010 with optimism and faith.

2009 was certainly not an easy year for the world. The economic crisis more or less affected everyone.

Following the advice of the journalist, we hope that this rather “sober” Christmas gives us the opportunity to stay at home with our family, friends and dear ones, so that we can live with love and simplicity the most longed-for day of the year, reflecting on our dear “dented” world and thinking positively about the future.

We here at Mariani Affreschi, which is a family-run business, have always done our best to work with great passion and love, we strongly believe in Italian made products, and try to establish not only a business relationship with our customers, but also of friendship, respect and virtuous dialogue.

We hope we have achieved this goal and continue to do so.

We wish you our heartfelt best wishes for the season and hope that 2010 is filled with serenity and lots of ideas, wonderful surprises and happiness.

HOW TO MAKE A FRESCO (SECOND PART)

Realization of a fresco at Mariani Affreschi

The mortars are made by a binder and an agglomerate mix with water.

In the case of fresco aerial mortars are used, that set in contact with the air, whereas the mortars typically more hydraulic, that reinforce themselves even under water, are less right or totally unsuited with this pictorial technique, like, after all, all the mortars.

The agglomerates in the mortar have the function of support matrix; they can be made by sand, marble powder, cocciopesto, pozzolana, ecc..

The sand for the grooming of the mortars can be thin or coarse due to the cases:

1. coarse: granules from 2 to 5 mm for the mortar layer
2. medium: granules from 0,5 to 2 mm for the arriccio
3. thin: granules till 0,5 mm for the intonachino

The sand has to come from the river because it needs to be without sodium chloride and potassium, which are present in marine sands.

The layers of the wall for the fresco are usually three:

1. rinzaffo o rabboccatura
2. arriccio o arricciato
3. intonachino, tonachino, velo o intonaco di rifinitura

The rinzaffo (a mortar layer) is layed on the coarse wall carefully dampen, is made by coarse sand and grassello (a thick mixture) in proportions of 2 parts and 1 respectively, otherwise of three parts of sand and one of grassello when the latter is good quality made.

The application happens throwing the mortar hard against the wall by the trowel.

The obtained surface has to be undifferentiated but rough, so it can provide a sturdy hold to the arriccio.

The optimal thickness is included between 1 and 2 cm.

The drying has to be slow and homogeneous, to avoid cracks and uplifting.

When the surface is ready, you lay on the arriccio or the arricciato, made by medium sand and chalky grassello in proportions 3:1 or 2:1 if the sand is more coarse or the lime is more thin, the thickness is around 1 cm.

Subsequently it beats the spolvero and it draws the sinopia that will be useful for the realization of the days (giornate).

When the arriccio is strengthened enough, it goes to the execution of the days (giornate), it goes on from the top to the bottom, avoiding to dirty the days before.

The choice of the surface to treat day by day is done earlier based on the collocation, the complexity and the speed of execution.

When it applies the intonachino it is good to lay it on more copious as regards the border of the day selected.

The intonachino is made by thin sand and grassello in proportions 2:1 or 3:1 or even 1:1 due to the measure used for the arriccio, in this case, however, the surface has to be smoothed thinly and its thickness has to be appreciably thinner as regards to the arricciato (for example 4/5 mm in the case of the arriccio of 1 cm), as is easier to be cracked.

IN THE MIND OF THE ARTIST: “SKETCHES” THAT DECORATE

They look good in a home with classic decor, but also, and above all, in a modern loft. They reflect the thoughts of the artist, his instantaneous genius, his study and research. If we look at them carefully, they can even convey great inspirations.

This modern home is the perfect setting for this reproduction of Leonardo’s “Vitruvius Man” created by Mariani Affreschi

“These types of paintings,” explains Alberto Mariani, “are reproductions of studies by great artists such as Michelangelo, Raffaello, Leonardo. The interesting aspect is that they are monochromatic and therefore adapt perfectly to any type of setting. The beauty of these pieces is in their nature, they are sketches created by masters of art. There are many customers who appreciate these subjects, especially Renaissance lovers, and lovers of Leonardo, Michelangelo and many other artists whose genius is reflected in their initial sketches.”

In addition to being perfect for any type of setting, therefore, they also affect and move us by conveying “the artistic moment” in its purest form.

A splendid fresco by Mariani based on a reproduction of one of Michelangelo’s subject

For further study of the topic, I thought it would be interesting to talk to one of the artists from Mariani Affreschi who created, among other works, a fascinating reproduction of “The Battle of Anghiari.”

Some of Raffaello’s “women” by Mariani Affreschi

What difficulties did you face in creating the Battle of Anghiari?

First of all, it should be pointed out that Leonardo painted the original, but I based my work on a copy made by Rubens on fragments of Leonardo’s Battle that were left on a wall. Strictly speaking, the difficulty was in the actual design, in the composition of the group, in reproducing the interweaving details. The perspectives of the horses and the legs are rather forced and the hardest aspect was trying to recreate them. However, it was a very rewarding experience.

A reproduction of “The Battle of Anghiari” created by an artist at Mariani Affreschi

And what do you think of these “master sketches”?

They are subjects that adapt perfectly to a minimalist and modern décor. Even the fact of being a monochrome painting allows placing them anywhere, without taking anything away from the emotional aspect, which is really strong if you consider that they represent the authentic research of great masters.

M.Z.

REAL OR FALSE? THE VALUE OF AUTHENCITIY (PART TWO)

We continue our discussion on the value of artistic authenticity. In part one of this topic, Laura Mariani – co-owner of Mariani Affreschi together with Alberto and Alessandro – and I discussed the importance of the artistic expression that each interpreter can give to a work of art.

Today we will look at one of the most famous and loved paintings in the history of art worldwide, the legendary “Kiss” by Gustav Klimt. The kiss is an oil painting on canvas (180 x 180 cm) painted in 1907-08 by the Austrian painter. This work completely follows the canons of the Liberty style characterised by decorations and mosaics (Klimt had a weakness for the mosaics of Ravenna) on a gold background.

Gustav Klimt, “The Kiss,” oil painting on canvas

The man is standing, bending over to kiss the woman who is kneeling on a meadow of flowers. She seems to be accepting the kiss, participating emotionally. Only the face and arms of the characters are realistic, the rest of the painting is formed by flat colours and matching geometrical volumes. The woman’s face is held tightly between the man’s hands and she has her arm around his neck. The couple is encircled by an oval. The gold part covering the man mostly contains rectangular, black and white shapes, while the woman seems to be dotted with bunches of flowers and is characterised by rounded shapes without any corners. In addition to having a strong symbolic connotation, the painting stands out for its beauty and harmony and gives us very intense emotions.

On the right, an interpretation of Klimt’s “The Kiss” painted by an artist at Mariani Affreschi

To examine the concept of reproducing this work, I turned to the artist who creates this piece for Mariani Affreschi.

How do you interpret a painting as famous as this one?

I always get my inspiration from the original painting. It is a very fascinating piece of artwork that, like all those painted by Klimt, symbolically represents phases and moments of life, universal themes which we can all recognise. I believe this is the reason for his success.

Technically speaking, how do you recreate it?

To be able to interpret a painting of this type correctly it is important to examine the technique. A fresco painting is different from an oil painting, it is a special technique because it interacts with the water and land and therefore one needs to be very focused on grasping the moment in order to obtain a result that is as faithful as possible to the original.

A splendid fresco painting of Klimt’s “The Kiss” painted by an artist at Mariani Affreschi

That’s why there can be some differences in the final result of the fresco painting, which nevertheless do not take anything away from the original because they are the expression of the artist who creates that work at that specific time and therefore, in turn, is authentic in itself.

M.Z.

NEW ATMOSPHERES FOR YOUR WELLBEING

How many times have you wanted to renew the most intimate and private room in your home and then, perhaps, for the fear of having to “break walls and floors” decide against it?

Stylish and elegant, this is an example of a work created by Mariani Affreschi and placed in a LineaTre bathroom

You probably did not consider a very interesting – and less invasive – solution for giving your favourite room a completely new atmosphere.

Having a fresco painting in your bathroom is a very creative idea which will renew the space of your wellbeing without structural renovations. In fact, the fresco painting can be glued directly onto the wall or placed over the old covering with the use of a suitable support.

Even a Klimt painting can be an ideal backdrop for a shower. Made by Mariani Affreschi

Various subjects can adapt themselves to this type of environment; obviously, preference is given to tasteful and light-hearted themes so as not to disturb the peacefulness of a very important time of your day.

With many years experience behind them, Mariani Affreschi proposes some very interesting solutions for decorating your bathroom. I went to talk with Alberto to understand the potentials and effects of this interesting and much loved decor possibility.

What criteria do you use to design a fresco painting for the bathroom?

It depends on the customer’s tastes and on the bathroom where it will be located. The bathroom is an extremely intimate room where anything goes, as long as the homeowner likes it.

What are the subjects best suited to this type of environment?

We prefer landscapes if the customer needs to “enlarge” a small bathroom, or figurative, very delicate themes which give grace and elegance to a very special room.

A Boldini woman can be the perfect subject for a bathroom (LineaTre). Made by Mariani Affreschi

Do you get many requests for this type of work?

It is still a work in progress…..it has only been a few months since we found a type of resin for frescoes which allows placing them in areas exposed to water, even inside the shower or at the bottom of a masonry bathtub.

This discovery has opened up totally new decorating possibilities, which in a commercial sense has allowed us to expand towards specialised retail outlets, using agents and participating in trade shows dedicated to this new sector.

M.Z.

The picture shows the rendering created by the architect Alessandro Dotti from Brescia, where a classic fresco decorates the wall of an “area of wellbeing” in a beautiful private villa

HOW TO MAKE A FRESCO (FIRST PART)

THE SKY IN A ROOM: THE MAGIC OF A FRESCOED CEILING

At times, we forget about it. And instead there it is, over our head. We should always look up to see what is over our head. When we enter a church, a palazzo, and even a house. Just remember to look up. It would be a shame to miss such a magical experience. Personally, it is something that has always intrigued me. To decorate a ceiling with a painting and know that it will remain there for a long time and be testimony to many stories, words, discussions, hugs, smiles and silences.

Apart from the poetic aspect, I believe it is interesting to understand how this type of painting is actually created: what are the pro or cons, what are the most requested. We asked someone who has been creating them for many years to tell us about the secrets behind a frescoed ceiling. Here is an interview with Alberto Mariani.

1) Do you get many requests for ceiling paintings?

The ceiling is the “Achilles’ heel” of home decoration because furniture and light fixtures alone are not enough to fill the “void” represented by a white ceiling. Especially in historical residences, ceiling decoration is just as important as the choice of a high-quality floor.

2) How are the frescoes proposed?

In 99% of the cases, the frescoes and decorations can be painted directly on-site because of the large surfaces of a ceiling, and in particular, vaulted ceilings. However, when the ceiling is flat, the work can first be prepared in our workshop and then glued to the ceiling. In two hours, a decoration can be applied that will change the look of your home forever.

3) What are the most popular fresco paintings?

Generally, the more historical and prestigious a home, the more frequent the figurative decoration, which is typical of period residences. Nevertheless, many customers really like our newest creations of ceiling friezes and grotesques, particularly finished in gold leaf.

There is also the solution adopted by owners of liberty-style homes where the ceilings are decorated in floral designs.

4) On average, how long does it take to paint a ceiling fresco?

This mostly depends on the type of decoration. First of all, painting over one’s head is harder for an artist and therefore takes more time than working on a wall. In the case of figurative painting, it could take an artist up to one day to paint a human figure. In the case of friezes and grotesques, instead, the execution times vary greatly based on the type of decorations.

5) Therefore, the time does not depend on the size, but on the complexity or easiness of the subject matter?

There are decorations that seem easy and quick to paint, but in actual fact require a long time to create due to the many “layers” needed to create certain “light and shadow” effects.

M.Z.

A TROMPE L’OEIL SCENE IS FOREVER

It is a window from which one can look out every morning, a terrace overlooking the sea or a spectacular mountain view. A trompe l’oeil scene is timeless, and forever. It is a genre loved by everyone, which goes well in any type of setting and goes beyond the trends. It adapts to homes with a classic style, but can also add emotion to modern interiors.

A trompe l'oeil scene for the outside, realised by Mariani Affreschi

Trompe-l’oeil is a French term that literally means “trick (trompe) of the eye (l’oeil)”. We are talking about landscapes and scenes made with a pictorial technique where extreme attention to detail and the prospective effects give the illusion of reality.

This type of fresco painting makes us feel as though we are in the middle of a field, inside a forest, in front of a lake and in front of whatever we can imagine. To delve into this much-loved subject matter, I have called on the sensitivity of the first lady of Mariani Affreschi, Laura Mariani.

Why are the trompe-l’oeil scenes so popular?

It is a pictorial theme that is loved and appreciated by nearly everyone. Everyone wants to look at a wall and catch a glimpse of the sky or forest. The landscape metaphorically knocks down the walls inside our home allowing us to dream and escape. It is significant that 80% of the fresco paintings exported to Japan are landscape scenes, because the homes in Japan are small and compact.

A beautiful fresco landscape realised by Mariani Affreschi

What are the most popular and where are they positioned in a home?

The most popular type of scenes are the trompe l’oeil landscape painting with subtle, soft colours, a breezy sky, water from the sea and fresh flowers.

The positioning often depends on the requirement to “open up” blind walls such as the end of a corridor or the wall of an entrance or staircase.

In many cases, they are also used to decorate the doors of a wardrobe or kitchen niches or to compliment boiserie walls.

The only thing left to do, dear readers, is to experience the emotion.
M.Z.

TRUE OR FALSE? THE VALUE OF UNIQUENESS

The dictionary says: “The quality of being the only one of a kind, without an equal, in an absolute sense or relating to some aspects and characteristics.” When I work, I often seek comfort in the “bible of words.” When I have some doubts (or when I want to dispel them), I open up that large book with the very thin pages and always find an answer.

This idea comes from Laura Mariani who, together with Alberto and Alessandro, owns Mariani Affreschi.

An original painting by Alfons Maria Mucha

“An additional benefit of our works,” she explains, “is the fact that they are unique. Indeed, each work, even though it is a replica of a painting selected from our catalogue, has the special characteristic of being hand painted and therefore being different from the original.” An intelligent concept which can be interpreted in many ways.

In fact, if you really think about it, to paint a replica an artist mixes the basic colours to create the various shades which change imperceptibly each time, also due to external factors such as the weather conditions or emotions of the painter and their psychological condition at that precise moment, which are never the same. These diversities add to the painting, they do not detract from it.

Another interpretation of a painting by Mucha created by one of Mariani Affreschi’s artists

For example, imagine having a painting by Tamara de Lempicka in your home, the very famous one of a woman wearing a green dress, with a unique and exclusive look and feel, made especially for you by an artist who was inspired by the original. Or perhaps a painting by Mucha or Klimt.

An interpretation of a Mucha painting created by one of Mariani Affreschi’s artists

Copying, for a real artist, is impossible. We accept their “dark side” and bring them into our homes as an added extra.

M.Z.

SUCCESS AT THE MOSCOW EXHIBITION: ALL THE NEWS FROM THE CROCUS EXPO

From 7 to 10 October 2009, the WorldWide exhibitions were held for the fifth time in the Russian capital for the customary annual appointment of Crocus Expo.

Alessandro and Alberto Mariani at Mariani Affreschi stand at Crocus Expo in Moscow. Behind them a reproduction of “L’Apoteosi D’Ercole” by François Lemoyne (1688-1737)

Over 360 exhibitors occupied an area of 32,000 square meters showcasing a wide range of excellent products from Italy, with various different concepts and proposals ranging from classic to modern décor, right through to extreme design.

The Mariani Affreschi company of Brescia exhibited all their new autumn products in pavilion 7 (stand B10) which were met with much enthusiasm and excitement.

Fresco realised by Mariani Affreschi, named “Flight of an angel” and inspired by Tiepolo

“The Russians are very curious people,” explains Alberto Mariani. “They are very interested in the techniques used, such as how the fresco paintings are made, in particular, the antiqued aspects of the finishes. We received many requests, including orders for some very large classic works, and are very satisfied with the turnout.”

What a pity for those who did not want to participate in this year’s Russian exhibition. Despite a drop in the number of exhibitors, the exhibition was a success with the public. For the most part, visitors were attentive, prepared and interested. They knew what they wanted and decided to invest in good Italian companies.”

Fresco representing Como Lake

“As for us,” continues Alberto Mariani, “we noticed a return to the more classic style. Fresco paintings in gold leaf, warm neoclassic scenes and trompe l’oeil prints were the most popular, even large dimensions. The Russian market is very active, showing signs not only of the reconfirmation of the “super-rich” class,  but also the emergence of the middle-upper class. It was an important event to define existing projects and to start new projects.” Basically, it was a partially preannounced success which rewarded those who had the courage to go beyond their limits, bringing the unmistakable “Made In Italy” brand to the world.

M.Z.

BOLDINI, THE PAINTER OF EUROPEAN HIGH SOCIETY

A must-see exhibition for art lovers is under way at the Palazzo dei Diamanti (Ferrara) entitled “Boldini nella Parigi degli Impressionisti (Boldini in Impressionist Paris). The exhibition will run until 10 January 2010 and explores the artistic development of one of the most popular portrait painters of the Belle Époque. It covers the various artistic phases of the Florentine painter and attempts to answer some questions.

A Boldini reproduction realised by Mariani Affreschi

Who was the Boldni who moved from Florence to Paris in 1871? How did he develop his personality from that time until 1886, during the golden period of the impressionist revolution? What remained of this experience when Boldini became one of the most famous portrait painters of European high society?

In addition to recommending that you visit Ferrara to learn more about this “belle-époque portraitist” and admire his works, this occasion may motivate you to decorate your home with a reproduction of one of his works created by Mariani Affreschi. Here are some personal observations by the painter who paints these beautiful interpretations of Boldini’s subjects.Ecco qualche consiglio direttamente dalla pittrice che esegue splendide interpretazioni dei soggetti di Boldini.

A lady by Boldini realised by Mariani Affreschi

Why do people like Boldini’s paintings?

Well, Boldini is a very expressive painter, but it is not an end unto itself expressivity, but full of content. His works were a “breath of frivolity” during the period in which he worked. His subjects included the crème de la crème of high society, portraits of elegant women in marvellous dresses, and the atmosphere of grand ballrooms. This makes him a very Italian, stylish and meticulous painter with an eye for detail.

What home can be decorated with one of Boldini’s subjects?

The beauty of Boldini's ladies by Mariani Affreschi

It must be a home with a certain style, but not necessarily with period or antique furniture. They are stunning portraits and subjects, which have their own history and character; therefore they go well in minimal homes in more classic homes.

M.Z.

A Boldini fresco realised by Mariani Affreschi inside a bathroom setting.

MARILYN AND AUDREY: WHY DOES EVERYONE WANT THEM

They are two legends of the 20th century. Their movies moved us and touched us – just think about the dreamy atmosphere of Breakfast at Tiffany’s or the energy of Some Like It Hot. Audrey Hepburn was born in Brussels and has a European heart. She is the expression of elegance and sophistication. Marilyn Monroe was born in Los Angeles and is typically American. She is every man’s desire. One thing is certain, they made the whole world fall in love with them.

A fresco representing Audrey Hepburn, realised by Mariani Affreschi and exhibited at Abitare il Tempo 2009

That’s why many people choose to have a picture of these two immortal women in their home or office. “Fresco paintings of Marilyn or Audrey,” explains Laura Mariani, “are among the most requested and our painter is very talented in capturing their essence.”

To get an idea of how these two very desirable women are created, here is a short interview with Mariani Affreschi’s artist who creates these works.

Some portraits of Audrey and Marylin in Mariani Affreschi's stand at Abitare il Tempo 2009

How do you create your portraits?

My work comes from intuition and experience. The paintings are initially formed by my personal sensitivity. Then I try to grasp the aspects which require more in-depth examination. It is a research project, which nevertheless, comes from a great passion.

Mariani Affreschi at Abitare il Tempo 2009: on the left a fresco of Audrey Hepburn, on the right Marilyn Monroe

After looking at their photos, what do you do?

Yes, I first start by looking at photos, which in the case of Marilyn and Audrey are already artworks because they depict two of the most loved women of all time. Then I try to interpret the image, perhaps thinking of a particular perspective or accentuating certain details. I also study the life of the people I am going to paint.

Are you influenced by their biography?

Yes, I am. It produces new sensations. I try to think about the best colours to use, or whether the painting should be in black or white or sepia. Of course, there are portraits which are already perfect. The photo of Audrey wearing a hat with a pair of sunglasses in her mouth is already perfect and well balanced. In fact, it is one of our biggest sellers.

M.Z.

SECRETS OF THE LAST SUPPER

Raise your hand if you do not know the painting depicted in the photo? There is no doubt that it is perhaps the most famous paintings of all time. Then (unfortunately or fortunately) Dan Brown’s bestselling novel turned it into a major star. What is certain is that it is a brilliant piece of artwork originally painted by the one and only Leonardo Da Vinci.

"Last Supper" realised by an artist of Mariani Affreschi and exhibited at Abitare Il Tempo 2009

“The Last Supper,” explains Laura Mariani, “is requested by customers from all social and cultural backgrounds and is one of our best selling reproductions. We have recreated it in measurements of up to 4 x 8 metres for public venues or private homes in Italy and abroad. Some people believe it is risky to put a painting like this in their home, but maybe because it is such a well-known painting, we feel that in some way it belongs to us and deep down we love it”.

The artist who created the work exhibited by Mariani Affreschi at “Abitare il Tempo” of Verona tells us about his experience.

What is the beauty of the Last Supper?

Besides the details of the face, what is really intriguing is the equilibrium of the dimensions, and the ingenious layout created by Leonardo to paint the masterpiece. Then there is the whole mystery of the symbols: Thomas’s pointing finger, Saint Peter’s knife …

What difficulties did you have in reproducing it?

The hardest aspect was reproducing the “extreme” position of the figures: the twisting of the neck, arms, all the aspects that the Master loved so much and that attest to his knowledge, not only of art, but of all sciences, including anatomy.

How many times have you reinterpreted this piece and what did you learn from it?

I have painted it more than thirty times and the fascinating aspect is that I always find something new each time.

M.Z.

A DESIRE FOR LIBERTY: NEWS FROM THE 2009 “ABITARE IL TEMPO” EXHIBITION

Light-heartedness, freshness, liberty. A time for “sweetness,” the desire for simple and subtle expressions, and to rediscover oneself. These are the initial impressions coming from the 2009 “Abitare il Tempo” exhibition.

Fresco reproductions of Mucha (liberty style with silver leaf finishing) realised by Mariani Affreschi for Arte Brotto

“People want reassuring subjects, shapes and colours,” explains Laura Mariani. “We have noticed a great deal of appreciation for the liberty style. The colours black and white and modern subjects continue to be loved, as well as more elaborate works. As a whole, we are satisfied with the contacts made during the exhibition even though many people complained about the low turnout. And, indeed, we expected more people to attend the exhibition in Verona, also because it takes place at the same time as another important event dedicated to art lovers, Art Verona.

Last Supper fresco realised by Mariani Affreschi

Of course, these are not easy times, but the intelligence of a company is also found in the way it interprets the current feelings and prepares itself to respond to new demands. “The love for fresco paintings,” continues Laura’s brother, Alberto Mariani, “must consider the times, as does any other form of decoration and furnishing. We inherited a great passion from our father and we always try to pass on this passion, especially to the artists who work with us.”

Fresco representing the "Dormeuse" by Tamara de Lempicka, realised by Mariani Affreschi for Arte Brotto at Abitare il Tempo 2009

This passion is manifested in the splendid subjects on display in the enchanting villas of Veneto, breathtaking fresco paintings of Audrey Hepburn, two women by Mucha and an interesting interpretation of the Last Supper.

M.Z.

Like mystery lime creates the fresco

The lime was made by cooking at 900° C, in special funnel-ovens, some stones (generally river shingles) essentially formed by calcium carbonate (CaCO3).

At this temperature the shingles pulverize themselves turning into calcium oxide (CaO) with the elimination of the carbon dioxide (CO2).

The follow reaction happened: CaCO3 a 900° = CaO + CO2↑

The calcium oxide called “calce viva” must be “turn off”  diving it into water for almost six months, before using it for the fresco, otherwise it could burn the colours. By diving in water, the calcium oxide became calcium hydroxide, Ca(OH)2, that is like a greasy mixture called  “calce spenta”.

When the calcium oxide (that mix with the lime form the plaster) gets wet, lost by evaporation a lot of water (H2O) and it combines with the carbon dioxide of the air (CO2) coming back to form calcium carbonate (CaCO3) that is a compound tough and insoluble like the original shingles.

The follow reaction happened: Ca(OH)2 + CO2 = CaCO3 + H2O.

This process, called lime carbonatation, requests some months because it is not complete until most of calcium hydroxide turn in calcium carbonate.

Obviously this transformation happens quickly in the higher layers of the plaster, so the ancient artists mixed the sand of lower layers of “pozzolana” minced (a type of volcanic rock) that has the property to get hard even when there is water.

Now we see what happen when over the plaster there is the pictorial film.

In the technique of “buon fresco” the colours are spread over the damp plaster without binder, that is simply dissolved in water.

When the plaster gets dry, the calcium hydroxide contained in it, rises in the surface where, after the evaporation of the water and the contact with the carbon dioxide of the air, happens the reaction already described that carry to the transformation of calcium carbonate in the higher layers of the plaster.

The pictorial film is included in the carbonate layer and that gives to the colours the exceptional resistance that is the feature of the “buon fresco” and allows to this kind of paintings to be preserved even outside.

The colours are not absorbed by the plaster, like we thought in the past, but  the calcium hydroxide rises in the surface and includes the pictorial film.

From what we said we can assume that is very important to paint with damp plaster: on the contrary, the particles of colours are not included by the calcium carbonate, and, when they are dry, “spolverano” (that is, passing the hand over the fresco, the traces of colours remain on fingers) compromising irreparably the pictorial result.

Partecipazione ad Abitare il Tempo (Verona), 17-21 Settembre 2009

La MARIANI AFFRESCHI ha il piacere di invitarvi alla seguente manifestazione

Verona, dal 17 al 21 Settembre 2009

PAD. 4 -   STAND  D6 – E7

24a EDIZIONE DI ABITARE IL TEMPO

LA QUALITÀ OLTRE LA CRISI, DAL PROGETTO ALLA DISTRIBUZIONE

(tratto dal sito www.abitareiltempo.it)

‘TOTAL LIVING’, IL MOSAICO DELL’ABITARE IN MOSTRA A VERONA

Architettura, design, artigianato e industria concorrono a realizzare un’idea dell’abitare che, in Italia, trova le sue espressioni d’eccellenza. A dire il vero, non una, ma mille e più idee che da progetti diventano prodotti, pronti per essere valorizzati e messi in vendita nei migliori negozi.

Certamente, la crisi in atto ha rallentato questo sistema, ma non può fermare il flusso creativo e la passione imprenditoriale che sono all’origine del suo successo. Noi siamo convinti che la crisi sia un’opportunità per riflettere, fare chiarezza e rilanciare la qualità di un settore, quello dell’arredamento, che il mondo ci invidia.

Per questo, ancora una volta, vi diamo appuntamento a Verona, con la ventiquattresima edizione di Abitare il Tempo, dove la tradizione dialoga con l’innovazione, il talento italiano si rende visibile al mondo e le idee prendono forma, dando vita ai nuovi scenari dell’abitare.

Per questo, Carlo Amadori, che dal 1986 organizza e cura la manifestazione, ha firmato per l’edizione 2009 un’immagine rappresentativa di quel ‘fiume di idee’ che attraversa Verona e trova espressione nell’unica rassegna italiana in grado di riunire 18 diversi settori merceologici, tutti riconducibili alla sfera dell’arredamento. Una prerogativa efficacemente sintetizzata dal concetto di ‘total living’. Il mosaico dell’abitare si ricompone creativamente per offrire un quadro ampio, trasversale e armonico della qualità capace di proiettarsi oltre la crisi, dal progetto alla distribuzione.

Nuovo ‘look’ per i padiglioni commerciali

Un’offerta che spazia a 360 gradi, cui partecipano i vari comparti che configurano il paesaggio d’interni -mobili, cucine, bagni, imbottiti, complementi, accessori, arte della tavola, illuminazione, rivestimenti, tessile d’arredamento, di gusto classico e contemporaneo, d’alta decorazione o di design- questa è la carta vincente della manifestazione nel suo format commerciale. E la razionale suddivisione nei 7 padiglioni interamente dedicati alle aziende espositrici conforta la validità della formula ‘Total living’.

Troviamo così i marchi del polo tessile riuniti nel padiglione 2 (con gli editori tessili) e nel padiglione 3, mentre al classico e all’alta decorazione sono riservati i padiglioni 2, 4 e 5. L’attualità del design e le sue proposte occupano il padiglione 6, assieme ai complementi, all’oggettistica e all’arte della tavola, ma anche parte del 7, dove prevalgono le novità relative agli ambienti bagno e cucina e dove le griffe della moda espongono le loro creazioni d’arredo.

Infine, come già anticipato, Abitare il Tempo ha rinnovato il ‘look’. La novità di quest’anno è data infatti dal nuovo allestimento, sobrio, funzionale e confortevole, studiato per questi padiglioni, che prevedono diverse tipologie di stand, con altezze: 4 metri per i padiglioni riservati al classico, 5 metri per quelli del contemporaneo.

Intrecci di prospettive – piazzale esterno

Altra novità per Abitare il Tempo è rappresentata dal progetto esterno di 15.000 mq., interamente dedicato all’arredamento outdoor, a cura di Frassinago Lab. L’area, situata nel piazzale della fiera antistante i padiglioni, sarà riservata alle proposte delle migliori aziende rappresentative di questo comparto, in costante crescita negli ultimi anni, dando vita ad un piccolo ma organico salone-nel-salone.

The fresco techniques in the history

From frescos recovered in Pompei it could be verified that Romans used to draw on the “arriccio” (sinopia) and then  cover it with the “intonachino” for days.

It has been verified others techniques which have been recovered in the Middle Ages, like the “battitura dei fili” or sometimes the direct drawing carried out with paintbrush or with a barbed tip directly on the plaster.

The mural paintings in the Dark Ages were usually done “a fresco” but with extensive dry-stone finishes, done on the wall already dry with colours diluted in the lime milk.

The artists, in fact, stretched out big “campiture di fondo” with the mortar still wet and then they finished them off in a dry-stone way.

In the Paleochristian, Byzantine and Romanesque ages, like in the Roman one, the frescos were made by large horizontal stripes, more or less like human height, which followed the “bridges” (scaffolds) trend, starting from the top, so it is said that the frescos were made by “pontate” instead of “giornate”.

The speed required from this method of work was possible because of the technique of execution implementation (generally rather summary), the simplicity of draw and the employment of fix iconographical forms, especially from “maestranze” Byzantine.

In the Romanic and Byzantine painting the preparatory draw were done directly on the plaster, and so often shine through.

Between the end of 1200 and 1300 there were two important technical innovations, tightly linked between them: the use of the preparatory draw made on the “arriccio”, said “sinopia”, and the drafting of the plaster “per giornate” covering with the plaster that part of sinopia that the painter thought to paint in a day, with the mortar still wet.

The painter reproduces that part of draw covered by mortar on the plaster with the “verdaccio”.

In the 1400 century instead of sinopia was used the cardboard, the artist sketched out of composition on a small scale, that was carried on a final scale in a batch of big sheets of paper, that glued together, formed the “cardboard”. Then the borders of the figures were pitted and therefore, the cardboard was fixed on the wall. Then the cardboard were thumbed with a bag full of coal powder, so that the black powder could leave the surrounds of the draw on the “arriccio”.

Other than the technique called “spolvero”, the draw could be carried from the cardboard to the wall pushing the surround with a metal tip of the figures which remained printed on fresh mortar.

An another innovation was the “quadrettatura” that made easier the transcription from the little draw to the cardboard and the wall.

This type of transcription was famous in 1500 and especially in 1600 and in 1700.

In 1800 it was common more than ever the painting “ a secco”, but it was still used also the “a fresco” one.

Historical traces of mural painting

The history of mural painting has started even before man learned to build brickwork buildings. In fact, in the prehistoric period there were already mural paintings (like in the Altamira Caves and in the Lascaux), although they were just simple signs traced directly on the rocky walls without a layer of plaster.

The first examples of plaster appeared in the Mesopotamian, Egyptian and Cretan art, but only later. The real fresco painting process began in fact when lime started to be put in the plasters.

In the Egyptian mural paintings, plasters were based of chalk and clay, in which sometimes was add minced straw so that the plaster would have more elasticity.

The colours were made by tempera (made of rubber or water down glues) and so the works were sensitive to humidity.

In fact, these works have been conserved thanks to the uncommonly dry climate.

However, in some Mesopotamian, Egyptian and Cretan late mural paintings there were already plaster made by sand or clay mix with lime so the colours were included in the plaster due to the lime carbonatation process and they were not washable any more.

Referring about Greeks mural painting almost no information has survived, except some recent findings (like “Fraudster’s grave, in 450 b.C. discovered at Paestum in 1968) where the paintings denote a perfect mastery method of “good fresco”. In fact these works were done over a rough  underlayer called the arriccio (based on lime and sand) and a layer (with more lime and an add of marble powder). The preparatory drawing is done directly on the plaster.

According to Vitruvio (“De Architectura” -Book VII”) the preparation of the plasters with more following layers (arriccio­ ­+ plaster + intonachino) started in the Hellenistic period and then extended in the centre of Italy and therefore in Rome.

It seems the Greeks used only four colours: red, yellow, black and white.

The Etruscan (who used more colours than the Greeks) prepared the plaster spreading out on the wall a layer of clay over which then passed over with a lime milk.

In the last time even they started to prepare the plasters with sand and lime.

It is important to know the Roman painting technique when examining the numerous frescos found in archaeological excavations.

In fact, while Vitruvio spoke about three layers of “arriccio” (mixture made by lime mortar and  coarse sand) and three layers of plaster (made by fine sand, lime and marble powder), this process became easier and starting in II century C.E (and all through the Middle Ages) plasters were generally made with only one layer of “arriccio” and one of plaster.

Il Giudizio Universale di Michelangelo

La grandiosa composizione si incentra intorno alla figura dominante del Cristo, colto nell’attimo che precede quello in cui verrà emesso il verdetto del Giudizio Universale. Il suo gesto, imperioso e pacato, sembra al tempo stesso richiamare l’attenzione e placare l’agitazione circostante: esso dà l’avvio ad un ampio e lento movimento rotatorio in cui sono coinvolte tutte le figure. Ne rimangono escluse le due lunette in alto con gruppi di angeli recanti in volo i simboli della Passione (a sinistra la Croce, i dadi e la corona di spine; a destra la colonna della Flagellazione, la scala e l’asta con la spugna imbevuta di aceto). Accanto a Cristo è la Vergine, che volge il capo in un gesto di rassegnazione: ella infatti non può più intervenire nella decisione, ma solo attendere l’esito del Giudizio. È importante notare come lei guardi con dolcezza gli eletti al regno dei cieli, mentre il Cristo riservi uno sguardo duro e aspro a coloro che stanno scendendo negli inferi. Anche i Santi e gli Eletti, disposti intorno alle due figure della Madre e del Figlio, attendono con ansia di conoscere il verdetto.

Alcuni di essi sono facilmente riconoscibili: San Pietro con le due chiavi, prive delle nappe in quanto non servono più ad aprire e chiudere le porte dei cieli, San Lorenzo con la graticola, San Bartolomeo con la propria pelle – nella quale, nel 1925, il medico e umanista calabrese Francesco La Cava riconobbe l’autoritratto di Michelangelo -, Santa Caterina d’Alessandria con la ruota dentata, San Sebastiano inginocchiato con le frecce in mano.

S. Bartolomeo, il volto sulla pelle è considerato un autoritratto di MichelangeloNella fascia sottostante, al centro gli angeli dell’apocalisse risvegliano i morti al suono delle lunghe trombe; a sinistra i risorti in ascesa verso il cielo recuperano i corpi (resurrezione della carne), a destra angeli e demoni fanno a gara per precipitare i dannati nell’inferno. Infine, in basso Caronte a colpi di remo insieme ai demoni fa scendere i dannati dalla sua imbarcazione per condurli davanti al giudice infernale Minosse, con il corpo avvolto dalle spire del serpente. È evidente in questa parte il riferimento all’Inferno della Divina Commedia di Dante Alighieri.

Michelangelo immagina la scena senza nessuna partizione architettonica: l’insieme è governato da un doppio vortice verticale, ascendente e discendente. Ancora una volta l’artista concentra la propria attenzione sul corpo umano, sulla sua perfezione celeste e sulla sua deformazione tragica. La figura prevalente è la figura ellittica, come la mandorla di luce in cui è inscritto il Cristo o il risultato complessivo delle spinte di salita e di discesa, salvo alcune eccezioni, come la sfericità della banda centrale degli angeli con le tube o la triangolarità dei santi ai piedi di Cristo Giudice. Il tema, metaforizzato nella tempesta e nel caos del dipinto, si presta bene alla tormentata religiosità di quegli anni, caratterizzati da contrasti, sia teologici che armati, fra Cattolici e Protestanti e la soluzione di Michelangelo non nasconde il senso di una profonda angoscia nei confronti dell’ultima sentenza. Il Buonarroti si pone in modo personalissimo nei confronti del dibattito religioso, sposando le teorie di un circolo ristretto di intellettuali che auspicava una riconciliazione fra Cristiani dopo una riforma interna della Chiesa stessa. La figura seduta su di una nuvola e con il capo rivolto verso Dio, probabilmente è l’autoritratto di Michelangelo, il quale ha in mano la sua pelle, simbolo del peccato del quale ora è privato.

Definizione dell’affresco

L’affresco è una pittura eseguita su intonaco, appunto ancora fresco, di una parete: il colore ne è chimicamente incorporato e conservato per un tempo illimitato.

L’affresco è un’antichissima tecnica pittorica che si realizza dipingendo con pigmenti stemperati in acqua su intonaco fresco: in questo modo, una volta che l’intonaco si sia consolidato, il colore ne sarà completamente inglobato, acquistando così particolare resistenza all’acqua e al tempo.

Si compone di tre elementi: supporto, intonaco, colore.

Il supporto, di pietra o di mattoni, deve essere secco e senza dislivelli. Prima della stesura dell’intonaco, viene preparato con l’arriccio, una malta composta da calce spenta o grassello, sabbia grossolana di fiume o, in qualche caso, pozzolana e, se necessario, acqua, steso in uno spessore di 1 cm circa, al fine di rendere il muro più uniforme possibile.
L’intonaco (o “tonachino” o “intonachino”) è l’elemento portante dell’intero affresco. È composto di un impasto fatto con sabbia fine, polvere di marmo, o pozzolana setacciata, calce ed acqua.
Il colore, che è obbligatoriamente steso sull’intonaco ancora umido (da qui il nome, “a fresco”), è di natura minerale, poiché deve resistere all’alcalinità della calce.
La principale difficoltà di questa tecnica è il fatto che non permette ripensamenti: una volta lasciato un segno di colore, questo verrà immediatamente assorbito dall’intonaco, i tempi stretti di realizzazione complicano il lavoro dell’affrescatore, la carbonatazione avviene entro tre ore dalla stesura dell’intonaco. Per ovviare a questo problema, l’artista realizzerà piccole porzioni dell’affresco (giornate). Eventuali correzioni sono comunque possibili a secco, ovvero mediante tempere applicate sull’intonaco asciutto: sono però più facilmente degradabili.

Un’altra difficoltà consiste nel capire quale sarà la tonalità effettiva del colore: l’intonaco bagnato, infatti, rende le tinte più scure, mentre la calce tende a sbiancare i colori. Per ovviare al problema, è possibile eseguire delle prove su una pietra pomice o su un foglio di carta fatto asciugare con aria o vento di Scirocco ossia aria calda.

La storia dell’affresco.

Date le difficoltà tecniche di una buona esecuzione, questa tecnica pittorica è oggi in disuso, mentre nei secoli scorsi conobbe grande diffusione.

In epoca paleo-cristiana e medioevale la preparazione del muro avveniva in modo rapido; la figurazione avveniva direttamente sulla preparazione: prima i contorni, in ocra, poi il riempimento, fino alle ombre. L’esecuzione delle varie parti era determinata dallo sviluppo dei ponteggi del cantiere; le diverse fasi di esecuzione dell’affresco (dette “pontate”) sono determinabili dalle giunture pittoriche determinatesi allo spostamento del ponteggio.

In epoca romanica il lavoro delle maestranze di frescatori veniva svolto sempre per “pontate”, ma la tecnica inizia a raffinarsi; viene introdotto l’uso di paglia, cocci, stoffa all’interno dell’impasto dell’arriccio e dell’intonaco, per mantenerne l’umidità e permettere un tempo di stesura pittorica maggiore. Le figure sono ancora stese con contorno ad ocra rossa, ma si comincia a riscontrare l’uso di collanti per i colori (albume, cera fusa, colla animale). Inoltre in alcuni casi è possibile rilevare la presenza di linee guida per la figurazione, tracciate sull’intonaco fresco.

Nel XIV secolo la tecnica dell’affresco conosce in area centro e sud europea una grande diffusione. Due importanti innovazioni sono introdotte dalle maestranze dell’epoca: l’uso del disegno preparatorio (la sinopia) e lo svolgimento del lavoro non più a pontate, ma a giornate.

La sinopia è un disegno preparatorio alla stesura vera e propria del colore. Era stesa a pennello con terra rossa di Sinope (da qui il nome) prima sull’arriccio e poi sull’intonaco, e riproduceva in modo preciso le figure dell’affresco. La scoperta dell’esistenza delle sinopie è avvenuta nel secondo dopoguerra, quando, coi i distacchi di affreschi operati per restauro, i disegni soggiacenti al colore sono stati rinvenuti.

Lo svolgimento dell’affresco diventa il frutto di una pianificazione meticolosa delle maestranze che devono, prima di stendere l’intonachino, decidere quale parte eseguire e valutarne la fattibilità nella giornata (per garantire l’esecuzione ‘in buon fresco’). Negli affreschi medievali si riescono di conseguenza a rilevare sia le giornate che le pontate. Vengono messe a punto raffinatissime tecniche per mascherare le giunte tra le giornate e tra le pontate. Il taglio e la tecnica usata per i ritocchi (che avvengono a secco) consentono spesso di individuare la scuola se non l’artista che ha eseguito l’affresco.

Con il Rinascimento, l’affresco conosce il momento di maggior diffusione. In area centro-italiana è abbandonato l’uso della sinopia (che in altre aree sarà invece usata fino alla fine del XVI secolo) e viene introdotto l’uso del cartone preparatorio.

L’intero affresco veniva riportato a grandezza naturale sul cartone. Le linee che componevano le figure erano poi perforate. Una volta appoggiato il cartone sull’intonaco fresco, era spolverato con finissima polvere di carbone; in tal modo la polvere, passando attraverso i piccoli fori, lasciava la traccia da seguire per la stesura a pennello. Questa tecnica è chiamata “spolvero”, ma con il tempo venne impiegata esclusivamene per le parti del dipinto che necessitavano maggiore precisione nell’esecuzione dei dettagli (come le mani, i volti, o alcuni particolari delle vesti).

Già all’inizio del Rinascimento si comincia ad impiegare, per le parti del dipinto più ampie e meno ricche di particolari, una nuova tecnica: l’incisione indiretta. In questo caso la carta impiegata per riportare il disegno era molto più spessa di quella usata per lo spolvero. Si procedeva facendo aderire il cartone all’intonaco ancora fresco, ripassando successivamente le linee del disegno con uno stilo ligneo o di metallo con la punta arrotondata. La pressione dello strumento rilasciava, attraverso la carta, una leggera incisione nella malta che serviva come linea guida o di contorno, per la stesura definitiva del colore.

Nel XVII e nel XVIII secolo, il cambiamento del mercato dell’arte e dei rapporti di potere tra artisti e committenti si ripercuote anche sulle tecniche pittoriche quali l’affresco.

La preparazione del supporto pittorico è sempre più raffinata (gli affreschi conservati risalenti a quest’epoca sono, infatti, in numero molto maggiore rispetto alle epoche precedenti), Lo sviluppo del cartone preparatorio era preceduto dal bozzetto, cioè un disegno in scala, molto particolareggiato, dell’affresco; il bozzetto veniva sottoposto al giudizio del committente e, se approvato, si procedeva con l’esecuzione.