Glossary of art conservation I, Mireia Xarrié, Balaam

978-84-89321-01-4, Pb, 192 pages, January 2005.   Price 45 euros  
16,5 x 24 cm, white matte paper 135 gr ( 4,76 oz), platifiqued cover bounded 300 gr (10,58 oz)

Contents

AB-57, abandoned underdrawing, abrasion, absorbency, acacia, acetate, acetate fiber, adhesive, albumen prints, alcohol, alum, applied optical microscopy, aquatint, araldite, armenian bole, arriccio, asphaltum, azurite, babul, badigeon, barbe, batten, beva, biodeterioration, birch, bone, brasil-wood, butterfly, cadmium yellow, calcium carbonate, canvas, carbon black, carbon prints, casein, cellulose, chestnut, clay, cleaning, cleaning test, cleavage, coating, colletta, colour, colour ground, colour appearance, colour rendition index, conservation, conservator, consolidate,copal, cotton,craquelure,chromatic abstraction,curator, daguerreotype, deacidification, deionised water, demineralised water, dimethylformamide,dowel, earth pigments elm, electromagnetic spectrum, emulsion, enzyme, epoxy resins, fading, ferrous sulfate, fluorescent lamp, ftir, formaldehyde, foxing, fungi, fresco, gall, gamboge, gelatin silver prints, gesso, gilding, glaze, glue, grid, ground, gum arabic, gum lac, gumsandarac, gum tragacanth, iccrom,icom, impasto, indigo, infrared radiation, intonaco, iron-gall ink,ivory black, kermes, lacuna,lake, lanolin, lapis-lazuli ,lignin, linen, lining, linseed oil , liquid chromatography, logwood, marouflage, melinex, methyl cellulose, microscopy, nitrate esters, oak, oil gilding,oil painting, organic materials, organic pigments, oxidation, paint layer, paint layer or protective on the reverse, panel assembly with butt joints, panel assembly with tongue and groove joints,paper, papyrus, pentimento,pigment,plain weave,plank with knots, pochoir, polymer, polymerization, polyvinyl acetate, preventive conservation, primal Ac-33, priming, prussian blue, radiocarbon analysis, raw umber, registrar, reintegration, relative humidity, repaint, reserve,resin, restoration, retouching with glazes, retouching with neutral tones, saturation, scanning electron microscopy, sepia, sepia inks, sgraffito on gold, silica gel, sinopia, stacco technique, stacco a massello,starch, starch paste,strappo,stretcher, strip lining,stronium yellow, support, synthetic pigments,synthetic resins, tangential cut,tannic acid,tear,tempera, thread count, tintype,toluene,toning,trattegio retouching, ultraviolet filter,ultraviolet light, ultraviolet radiation, ultraviolet/visible spectrometry, umber, underpaint, varnish, vinyl resin,warping of panels, water, water oxygenated, watercolour, water gilding, waterproof paper, white ground, wood, wood panel, wrinkling of the paint layer, xeroradiography, xrf, x-ray diffraction, x-radiography.

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   Page 61 + info

Description:                                                                            

 Fresco          
Technique of wall painting where the paint is applied on the fresh laid damp lime plaster, so that the pigments, which are ground in pure water-or in the lime water or milk of lime-are fixed by carbonization of the calcium hydroxide from the wet intonaco or whitewash. Source: Mora 326

Painting on plaster with limewater as a medium. There are two types, buon fresco or true fresco, and fresco secco or dry fresco. Both types are often finished in egg tempera. Source: Dudley & Wilkinson 210

A highly skilled method of wall or ceiling painting, of ancient origin, perfected during the Renaissance in Italy. The paint used was of the distemper/Tempera type, in which the colours are mixed with some binding substance soluble in water, and was usually applied to the wet plaster.In the second quarter of the nineteenth century the interest in fresco painting revived, especially in England and Germany. Some of these so-called frescoes were in fact executed in oil-based paint, unlike their Renaissance predecessors. Source: Goldman 28-9

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