American Heritage® Dictionary of the English Language, Fourth Edition
- n. The art of painting on fresh, moist plaster with pigments dissolved in water.
- n. A painting executed in this way.
- v. To paint in fresco.
Century Dictionary and Cyclopedia
- n. Coolness; a cool, refreshing state of the air; shade. See al fresco.
- n. A method of painting on walls covered with a ground or coat of plaster or mortar, with which the colors become permanently incorporated if properly chosen and applied; also, a picture or design so painted. True fresco (Italian buon fresco) is painting in colors mixed with water or hydrate of lime upon a wet surface of mortar made of lime and pure quartz-sand. In this method earth pigments are chiefly used, because all vegetable and many mineral pigments are decomposed by lime or altered by light. The solidity of the painting depends upon the penetration of the colors into the plaster or mortar, and upon the crystalline layer which forms upon its surface before the mortar has set, as it does in a few hours through the absorption of carbonic acid from the atmosphere. If this crystalline layer is disturbed, or if it has begun to form while the artist is painting, or if it forms between the thinner and thicker coats of color successively applied, the colors will flake and fall away. Dry fresco (Italian fresco secco) is a method of fresco-painting upon a dry surface. The last coat of plaster, or intonaco, when perfectly dry, is rubbed with pumice-stone, and well wetted with water and a little lime the evening before painting, and again immediately before the artist begins work. The first step in this process is to pounce the outline of the design upon the wall. The phrase fresco secco is applied also to retouching in distemper. The implements used by fresco-painters include wooden and glass floats, trowels of wood and iron, palette-knives of steel and bone, a trimming-knife, a bone or ivory stylus, and brushes of hog-bristles and other hair, of such quality as to be neither curled nor burned by lime. Compare
- To paint in fresco, as a wall.
- n. uncountable In painting, the technique of applying water-based pigment to wet or fresh lime mortar or plaster.
- n. countable A painting made using this technique.
- v. To paint using fresco
GNU Webster's 1913
- n. rare A cool, refreshing state of the air; duskiness; coolness; shade.
- n. The art of painting on freshly spread plaster, before it dries.
- n. In modern parlance, incorrectly applied to painting on plaster in any manner.
- n. A painting on plaster in either of senses a and b.
- v. To paint in fresco, as walls.
- n. a mural done with watercolors on wet plaster
- v. paint onto wet plaster on a wall
- n. a durable method of painting on a wall by using watercolors on wet plaster
- From Italian fresco. (Wiktionary)
- Italian, fresh (plaster), of Germanic origin. (American Heritage® Dictionary of the English Language, Fourth Edition)
“I especially like the texture of the image, almost like a fresco from a forgotten time.”
“He explained the general rules of color composition in fresco, enamel, and pastel painting, showing how to use his wheel and chart together as a tool to select the appropriate color combinations for each technique.”
“The walls of one among them were entirely covered with scriptural pictures in fresco of rather coarse execution, but still tolerably preserved, excepting the heads, of which no doubt”
“The verses on the fresco are a prophecy on the birth of the Messiah, Christ.”
“The front of the arcosolium is closed by a wall, on the surface of which is an interesting fresco, which is here reproduced.”
“The fresco is a procession of boats with music and lights.”
“A carved "stemma," or coat of arms, over a side-door was all the parsonage had to show, and no trace of the fresco was anywhere discernible.”
“On our return to the anderoon the Shah's mother made me observe that the walls of the court had been recently painted in fresco.”
“St. Peter and St. Paul,' Guercino's 'Hagar and Abraham;' a row of old columns which were broken and lying about till the French set them upon their legs; Leonardo da Vinci's fresco, which is entirely spoilt.”
“After this, on a pillar on the left-hand side of the principal chapel of the Araceli, he made a S. Louis in fresco, which is much praised, because it has in it a vivacity never displayed up to that time even by”
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