Wikipedia

Fresco

For other uses, seeFresco (disambiguation).

Fresco(pl. frescosorfrescoes) is a technique ofmuralpainting executed upon freshly laid ( "wet" )lime plaster.Wateris used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The wordfresco(Italian:affresco) is derived from the Italian adjectivefrescomeaning "fresh", and may thus be contrasted withfresco-secco or seccomural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated withItalian Renaissance painting.[1][2]

The Creation of Adam,a detail of the frescoSistine Chapel ceilingbyMichelangelo

The wordfrescois commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster. Even in apparentlybuon frescotechnology, the use of supplementary organic materials was widespread, if underrecognized.[3]

Technology

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Etruscan fresco.Detail of two dancers from theTomb of the Tricliniumin theNecropolis of Monterozzi470 BC,Tarquinia,Lazio,Italy

Buon frescopigmentis mixed with roomtemperaturewater and is used on a thin layer of wet, freshplaster,called theintonaco(after the Italian word for plaster). Because of the chemical makeup of the plaster, abinderis not required, as the pigment mixed solely with the water will sink into theintonaco,which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. The chemical processes are as follows:[4]

ARoman frescoof a young man from the Villa di Arianna,Stabiae,1st century AD

In paintingbuon fresco,a rough underlayer called thearricciois added to the whole area to be painted and allowed to dry for some days. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment calledsinopia,a name also used to refer to these under-paintings. Later,[when?]new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot (spolvero) banged on them to produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. This area is called thegiornata( "day's work" ), and the different day stages can usually be seen in a large fresco, by a faint seam that separates one from the next.

Buon frescoesare difficult to create because of the deadline associated with the drying plaster. Generally, a layer of plaster will require ten to twelve hours to dry; ideally, an artist would begin to paint after one hour and continue until two hours before the drying time—giving seven to nine hours' working time. Once agiornatais dried, no morebuon frescocan be done, and the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later,a secco. An indispensable component of this process is thecarbonatationof the lime, which fixes the colour in the plaster ensuring durability of the fresco for future generations.[5]

A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of theSchool of Athensare sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark 'outlining' of his central figures within his frescoes.

In a wall-sized fresco, there may be ten to twenty or even moregiornate,or separate areas of plaster. After five centuries, thegiornate,which were originally nearly invisible, have sometimes become visible, and in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was often covered by ana seccopainting, which has since fallen off.

One of the first painters in the post-classical period to use this technique was the Isaac Master (or Master of the Isaac fresco, and thus a name used to refer to the unknown master of a particular painting) in the UpperBasilica of Saint FrancisinAssisi.A person who creates fresco is called a frescoist.

Other types of wall painting

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Fresco byGiotto,Scrovegni Chapelin Padua. Sky and blue mantle of Maria were painteda secco,and large part of the painting is now lost

Asecco or fresco-seccopainting is done on dry plaster (seccomeaning "dry" in Italian). The pigments thus require a binding medium, such asegg(tempera), glue oroilto attach the pigment to the wall. It is important to distinguish betweena seccowork doneon topofbuon fresco,which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirelya seccoon a blank wall. Generally,buon frescoworks are more durable than anya seccowork added on top of them, becausea seccowork lasts better with a roughened plaster surface, whilst true fresco should have a smooth one. The additionala seccowork would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the veryalkalineenvironment of fresh lime-based plaster. Blue was a particular problem, and skies and blue robes were often addeda secco,because neitherazuriteblue norlapis lazuli,the only two blue pigments then available, works well in wet fresco.[6]

It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employeda seccotechniques so as to allow the use of a broader range of pigments. In most early examples this work has now entirely vanished, but a whole painting donea seccoon a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than tobuon fresco.

A third type called amezzo-frescois painted on nearly dry intonaco—firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo—so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displacedbuon fresco,and was used by painters such asGianbattista TiepoloorMichelangelo.This technique had, in reduced form, the advantages ofa seccowork.

The three key advantages of work done entirelya seccowere that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry—in wet fresco there was a considerable change.

For whollya seccowork, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he or she would on a canvas or wood panel.

History

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Reproduction of the earliest known fresco, Tomb 100,Hierakonpolis,Naqada IIculture, Egypt (c. 3500–3200 BCE)
Investiture of Zimri-Lim,Syria, fresco paintedc. 1770 BCE
The Fisherman,MinoanBronze Agefresco fromAkrotiri,on theAegeanisland ofSantorini(classically Thera), dated to the Neo-Palatial period (c. 1640–1600 BC). The settlement of Akrotiri was buried in volcanic ash (dated byradiocarbon datingtoc. 1627 BC) by theMinoan eruptionon the island, which preserved many Minoan frescoes like this
Etruscanfresco of Velia Velcha from theTomb of Orcus,Tarquinia

Egypt and ancient Near East

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The first known Egyptian fresco was found in Tomb 100 atHierakonpolis,and dated toc. 3500–3200 BC.Several of the themes and designs visible in the fresco are otherwise known from otherNaqada IIobjects, such as theGebel el-Arak Knife.It shows the scene of a "Master of Animals",a man fighting against two lions, individual fighting scenes, and Egyptian and foreign boats.[7][8][9][10][11]Ancient Egyptians painted many tombs and houses, but those wall paintings are not frescoes.[12]

An old fresco fromMesopotamiais theInvestiture of Zimri-Lim(modernSyria), dating from the early 18th century BC.

Aegean civilizations

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The oldest frescoes done in thebuon frescomethod date from the first half of the second millennium BCE during theBronze Ageand are to be found amongAegean civilizations,more preciselyMinoan artfrom the island ofCreteand other islands of theAegean Sea.The most famous of these, theBull-Leaping Fresco,depicts a sacred ceremony in which individuals jump over the backs of large bulls. The oldest surviving Minoan frescoes are found on the island ofSantorini(classically known as Thera), dated to the Neo-Palatial period (c. 1640–1600 BC).

While some similar frescoes have been found in other locations around the Mediterranean basin, particularly in Egypt and Morocco, their origins are subject to speculation. Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form offrescowasEgyptianwall paintings intombs,usually using thea seccotechnique.

Classical antiquity

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Fresco of "Sappho"fromPompeii,c. 50 CE

Frescoes were also painted inancient Greece,but few of these works have survived. In southern Italy, atPaestum,which was aGreek colonyof theMagna Graecia,a tomb containing frescoes dating back to 470 BC, the so-calledTomb of the Diver,was discovered in June 1968. These frescoes depict scenes of the life and society of ancient Greece, and constitute valuable historical testimonials. One shows a group of men reclining at asymposium,while another shows a young man diving into the sea.Etruscanfrescoes, dating from the 4th century BC, have been found in theTomb of OrcusnearVeii,Italy.

Thracian Tomb of Kazanlakfrescoes, 4th century BC

The richly decoratedThracianfrescoes of theTomb of Kazanlakare dating back to 4th century BC, making it aUNESCOprotectedWorld Heritage Site.

View of a woman's face in the central chamber of theOstrusha moundbuilt in the 4th century BC inBulgaria

Romanwall paintings, such as those at the magnificent Villa dei Misteri (1st century BC) in the ruins ofPompeii,and others atHerculaneum,were completed inbuon fresco.

Roman (Christian) frescoes from the 1st to 2nd centuries AD were found in catacombs beneath Rome, and Byzantine icons were also found inCyprus,Crete,Ephesus,Cappadocia,andAntioch.Roman frescoes were done by the artist painting the artwork on the still damp plaster of the wall, so that the painting is part of the wall, actually colored plaster.

Also a historical collection of Ancient Christian frescoes can be found in theChurches of Göreme.

India

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Fresco from theAjanta Cavesbuilt and painted during theGupta Empirein the 6th century AD

Thanks to large number of ancient rock-cut cave temples, valuable ancient and early medieval frescoes have been preserved in more than 20 locations of India.[13] The frescoes on the ceilings and walls of theAjanta Caveswere painted betweenc. 200 BC and 600and are the oldest known frescoes in India. They depict theJatakatales that are stories of theBuddha's life in former existences asBodhisattva.The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819. Other locations with valuable preserved ancient and early medieval frescoes includeBagh Caves,Ellora Caves,Sittanavasal,Armamalai Cave,Badami Cave Templesand other locations. Frescoes have been made in several techniques, including tempera technique.

The laterCholapaintings were discovered in 1931 within the circumambulatory passage of theBrihadisvara Templein India and are the first Chola specimens discovered.

Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture was applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.

During theNayakperiod, the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit ofsaivismexpressed in them. They probably synchronised with the completion of the temple byRajaraja Cholanthe Great.

The frescoes inDogra/ Pahari style paintings exist in their unique form atSheesh Mahalof Ramnagar (105 km fromJammuand 35 km west of Udhampur). Scenes from epics ofMahabharatandRamayanalong with portraits of local lords form the subject matter of these wall paintings.Rang Mahalof Chamba (Himachal Pradesh) is another site of historicDogrifresco with wall paintings depicting scenes ofDraupti Cheer Haran,andRadha- Krishna Leela.This can be seen preserved at National Museum at New Delhi in a chamber calledChamba Rang Mahal.

During the Mughal Era, frescos were used for making interior design on walls and inside the ceilings of domes.[14]

The ceiling of Begum Shahi mosque in Lahore with Mughal style frescos

Sri Lanka

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Sigiriya Fresco, Sri Lanka.c. 477 – 495 AD
Frescos in theMonastery of Saint Moses the Abyssinian,Syria

The Sigiriya Frescoes are found inSigiriyainSri Lanka.Painted during the reign ofKing Kashyapa I(ruled 477 – 495 AD). The generally accepted view is that they are portrayals of women of the royal court of the king depicted as celestial nymphs showering flowers upon the humans below. They bear some resemblance to the Gupta style of painting found in theAjanta CavesinIndia.They are, however, far more enlivened and colorful and uniquely Sri Lankan in character. They are the only surviving secular art from antiquity found in Sri Lanka today.[citation needed]

The painting technique used on the Sigiriya paintings is "fresco lustro". It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.[15]

Located in a small sheltered depression a hundred meters above ground only 19 survive today. Ancient references, however, refer to the existence of as many as five hundred of these frescoes.

Middle Ages

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Interior view with the frescoes dating back to 1259,Boyana ChurchinSofia,UNESCOWorld Heritage Listlandmark.
PantocratorfromSant Climent de Taüll,inMNAC Barcelona
Myrrhbearerson Christ's Grave, c 1235 AD,Mileševa monasteryinSerbian

The lateMedievalperiod and theRenaissancesaw the most prominent use of fresco, particularly in Italy, where most churches and many government buildings still feature fresco decoration. This change coincided with the reevaluation of murals in theliturgy.[16]Romanesque churchesinCataloniawere richly painted in 12th and 13th century, with both decorative and educational—for the illiterate faithfuls—roles, as can be seen in theMNACinBarcelona,where is kept a large collection of Catalan romanesque art.[17]In Denmark too,church wall paintingsorkalkmalerierwere widely used in the Middle Ages (first Romanesque, then Gothic) and can be seen in some 600 Danish churches as well as in churches in the south of Sweden, which was Danish at the time.[18]

One of the rare examples ofIslamicfresco painting can be seen inQasr Amra,the desert palace of the Umayyads in the 8th century Magotez.

Early modern Europe

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Fragment of a 13th-century fresco with Armenian inscribed text inDadivank Monastery,a masterpiece of medieval culture ofArtsakh.

Fresco painting continued into theBaroquein southern Europe, for churches and especially palaces.Gianbattista Tiepolowas arguably the last major exponent of this tradition, with huge schemes for palaces in Madrid andWürzburgin Germany.

NorthernRomania(historical region ofMoldavia) boasts about a dozenpainted monasteries,completely covered with frescos inside and out, that date from the last quarter of the 15th century to the second quarter of the 16th century. The most remarkable are the monastic foundations atVoroneţ(1487),Arbore(1503),Humor(1530), andMoldoviţa(1532).Suceviţa,dating from 1600, represents a late return to the style developed some 70 years earlier. The tradition of painted churches continued into the 19th century in other parts of Romania, although never to the same extent.[19]

HenriClément Serveauproduced several frescos including a three by six meter painting for theLycée deMeaux,where he was once a student. He directed theÉcole de fresquesatl'École nationale supérieure des beaux-arts,and decorated thePavillon du Tourismeat the 1937Exposition Internationale des Arts et Techniques dans la Vie Moderne(Paris),Pavillon de la Ville de Paris;now atMusée d'Art Moderne de la Ville de Paris.[20]In 1954 he realized a fresco for the Cité Ouvrière du Laboratoire Débat, Garches.[21]He also executed mural decorations for thePlan des anciennes enceintes de Parisin theMusée Carnavalet.[22]

TheFoujita chapelinReimscompleted in 1966, is an example of modern frescos, the interior being painted with religious scenes by theSchool of ParispainterTsuguharu Foujita.In 1996, it was designated an historic monument by the French government.

Mexican muralism

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José Clemente Orozco,Fernando Leal,David SiqueirosandDiego Riverathe famous Mexican artists, renewed the art of fresco painting in the 20th century. Orozco, Siqueiros, Rivera and his wifeFrida Kahlocontributed more to the history of Mexican fine arts and to the reputation of Mexican art in general than anybody else. Channeling pre-Columbian Mexican artworks including the true frescoes at Teotihuacan, Orozco, Siqueiros, River and Fernando Leal established the art movement known asMexican Muralism.[23]

Contemporary

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There have been comparatively few frescoes created since the 1960s but there are some significant exceptions.

The American artist, Brice Marden's monochrome works first shown in 1966 at Bykert Gallery, New York were inspired by frescos and "watching masons plastering stucco walls."[24]While Marden employed the imagistic effects of fresco,David Novroswas developing a 50-year practice around the technique. David Novros is an American painter and a muralist of geometric abstraction. In 1968 Donald Judd commissioned Novros to create a work at 101 Spring Street, New York, NY soon after he had purchased the building.[25]Novros used medieval techniques to create the mural by "first preparing a full-scale cartoon, which he transferred to the wet plaster using the traditional pouncing technique," the act of passing powdered pigment onto the plaster through tiny perforations in a cartoon.[26]The surface unity of the fresco was important to Novros in that the pigment he used bonded with the drying plaster, becoming part of the wall rather than a surface coating. This site-specific work was Novros's first true fresco, which was restored by the artist in 2013.

The American painter,James Hydefirst presented frescoes in New York at the Esther Rand Gallery, Thompkins Square Park in 1985. At that time Hyde was using true fresco technique on small panels made of cast concrete arranged on the wall. Throughout the next decade Hyde experimented with multiple rigid supports for the fresco plaster including composite board and plate glass. In 1991 at John Good Gallery in New York City, Hyde debuted true fresco applied on an enormous block of Styrofoam. Holland Cotter of the New York Times described the work as "objectifying some of the individual elements that have made modern paintings paintings."[27]While Hyde's work "ranges from paintings on photographic prints to large-scale installations, photography, and abstract furniture design" his frescoes on Styrofoam have been a significant form of his work since the 1980s.[28]

The frescoes have been shown throughout Europe and the United States. In ArtForum David Pagel wrote, "like ruins from some future archaeological dig, Hyde's nonrepresentational frescoes on large chunks of Styrofoam give suggestive shape to the fleeting landscape of the present."[29]Over its long history, practitioners of frescoes always took a careful methodological approach. Hyde's frescoes are done improvisationally. The contemporary disposability of the Styrofoam structure contrast the permanence of the classical fresco technique. In 1993, Hyde mounted four automobile sized frescoes on Styrofoam suspended from a brick wall. Progressive Insurance commissioned this site-specific work for the monumental 80- foot atrium in their headquarters in Cleveland, Ohio.[30]

Selected examples of frescoes

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Virgin and Unicorn (A Virgin with a Unicorn),Palazzo FarnesebyDomenichinoc. 1602
The Wounded Angel,Tampere CathedralbyHugo Simberg(1873–1917)
Fernando Leal,Miracles of the Virgin of Guadalupe,Fresco Mexico City
Prometheus,Pomona CollegebyJosé Clemente Orozco1930

Ancient and Early Medieval

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Bulgaria

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Colombia

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Czechia

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France

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Italy

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Late Medieval-Quattrocento

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High Renaissance

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See also:High Renaissance

Mexico

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Note:Fresco cycle, a series of frescos done about a particular subject

The Netherlands

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Inside the church ofChâteau St. Gerlach,Valkenburg aan de Geul,The Netherlands

Serbian Medieval

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United States

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Conservation of frescoes

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Main article:Conservation and restoration of frescos

The climate and environment ofVenicehas proved to be a problem for frescoes and other works of art in the city for centuries. The city is built on a lagoon in northern Italy. The humidity and the rise of water over the centuries have created a phenomenon known as rising damp. As the lagoon water rises and seeps into the foundation of a building, the water is absorbed and rises up through the walls often causing damage to frescoes. Venetians have become quite adept in the conservation methods of frescoes. The moldaspergillus versicolorcan grow after flooding, to consume nutrients from frescoes.[33][34]

The following is the process that was used when rescuing frescoes inLa Fenice,a Venetian opera house, but the same process can be used for similarly damaged frescoes. First, a protection and support bandage of cotton gauze and polyvinyl alcohol is applied. Difficult sections are removed with soft brushes and localized vacuuming. The other areas that are easier to remove (because they had been damaged by less water) are removed with a paper pulp compress saturated with bicarbonate of ammonia solutions and removed with deionized water. These sections are strengthened and reattached then cleansed with base exchange resin compresses and the wall and pictorial layer were strengthened with barium hydrate. The cracks and detachments are stopped with lime putty and injected with an epoxy resin loaded with micronized silica.[35]

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See also

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References

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  1. ^Mora, Paolo; Mora, Laura; Philippot, Paul (1984).Conservation of Wall Paintings.Butterworths.pp. 34–54.ISBN0-408-10812-6.
  2. ^Ward, Gerald W. R., ed. (2008).The GroveEncyclopedia of Materials and Techniques in Art.Oxford University Press.pp. 223–5.ISBN978-0-19-531391-8.
  3. ^Piqué, Francesca (2015).Organic materials in wall paintings: project report.Los Angeles: Getty Conservation Institute.ISBN978-1-937433-29-1.OCLC944038739.
  4. ^Mora, Paolo; Mora, Laura; Philippot, Paul (1984).Conservation of Wall Paintings.Butterworths.pp. 47–54.ISBN0-408-10812-6.
  5. ^How is a fresco made? - Fresco BlogArchived18 May 2017 at theWayback Machineby Italian Fresco Blog.
  6. ^All this section - Ugo Procacci, inFrescoes from Florence,pp. 15–25 1969, Arts Council, London.
  7. ^Case, Humphrey; Payne, Joan Crowfoot (1962). "Tomb 100: The Decorated Tomb at Hierakonpolis".The Journal of Egyptian Archaeology.48:17.doi:10.2307/3855778.ISSN0307-5133.JSTOR3855778.
  8. ^Shaw, Ian(2019).Ancient Egyptian Warfare: Tactics, Weaponry and Ideology of the Pharaohs.Open Road Media. p. 22.ISBN978-1-5040-6059-2.
  9. ^Kemp, Barry J. (2007).Ancient Egypt: Anatomy of a Civilisation.Routledge. p. 94.ISBN978-1-134-56389-0.
  10. ^Bestock, Laurel (2017).Violence and Power in Ancient Egypt: Image and Ideology before the New Kingdom.Routledge. p. 94.ISBN978-1-134-85626-8.
  11. ^Hartwig, Melinda K. (2014).A Companion to Ancient Egyptian Art.John Wiley & Sons. p. 424.ISBN978-1-118-32509-4.
  12. ^Nina M. Davies:Ancient Egyptian paintings, Vol. III,Chicago, 1963, p. xxxionlineArchived10 May 2022 at theWayback Machine
  13. ^Ancient and medieval Indian cave paintings - Internet encyclopediaArchived24 June 2018 at theWayback Machineby Wondermondo. Retrieved 4 June 2010.
  14. ^"Lahore Its History, Architectural Remains and Antiquities".1892.
  15. ^Ponnamperuma, Senani (2013).Story of Sigiriya.Melbourne: Panique Pty Ltd.ISBN9780987345110.
  16. ^Bokody, Peter (January 2014)."Péter Bokody,Mural Painting as a Medium: Technique, Representation and Liturgy,Image and Christianity: Visual Media in the Middle Ages, Pannonhalma Abbey, 2014, 136-151 ".Péter Bokody (Ed.). Image and Christianity: Visual Media in the Middle Ages. Exhibition Catalog. Pannonhalma: Pannonhalma Abbey, 2014.
  17. ^Español, Francesca; Yarza, Joaquín (2007).El romànic català(in Catalan). Fotografies de Ramon Manent, Pere Pascual i Rosina Ramírez (1. ed.). Barcelona: Angle Editorial.ISBN9788496970090.
  18. ^Kirsten Trampedach, "Introduction to Danish wall paintings - Conservation ethics and methods of treatment from the National Museum of Denmark"Archived24 November 2009 at theWayback Machine.Retrieved 2 March 2010.
  19. ^Anca Vasiliu, "Monastères de Moldavie (XIVème-XVIème siècles)", Paris Mediterranée, 1998
  20. ^"Ministère de la Culture (France) - Médiathèque de l'architecture et du patrimoine, Exposition internationale des arts et techniques de 1937".
  21. ^Base Mérimée:Cité ouvrière du Laboratoire Débat,Ministère français de la Culture.(in French)
  22. ^"Waterhouse & Dodd Fine Art 1850-2000".Archived fromthe originalon 11 July 2012.Retrieved15 December2012.
  23. ^Sophie Friedman."Mexican Muralism | Modern Latin America".Brown University Library.
  24. ^Brooklyn RailArchived5 October 2021 at theWayback Machine"Brice Marden with Jeffrey Weiss", October 2006.
  25. ^Judd FoundationArchived5 October 2021 at theWayback Machine"Index of works- David Novros", 2013.
  26. ^Matthew L. Levy, "David Novro's Painted Places", in David Novros, exh. Cat. (Bielefeld: Kerber, 2014),50.
  27. ^Holland Cotter,New York TimesArchived5 October 2021 at theWayback Machine"Art in Review", March 1993.
  28. ^Guggenheim, John Simon Memorial FoundationArchived5 October 2021 at theWayback MachineAwarded Fellows,2008.
  29. ^David Pagel, "James Hyde, Angles Gallery"Archived5 October 2021 at theWayback MachineArt Forum,December 1993.
  30. ^Progressive Insurance, "Installations- James Hyde"Archived5 October 2021 at theWayback MachineProgressive Insurance,1993.
  31. ^"Restoration of the Last Supper 1498 - Leonardo da Vinci 1452-1519 - The Last Supper St. Apostle John Comparison".Archived fromthe originalon 27 November 2020.Retrieved29 October2021.
  32. ^Scott, David W. (1957). "Orozco's Prometheus: Summation, Transition, Innovation".College Art Journal.17(1): 2–18.doi:10.2307/773653.ISSN1543-6322.JSTOR773653.
  33. ^Bennett JW (2010)."An Overview of the GenusAspergillus"(PDF).Aspergillus:Molecular Biology and Genomics.Caister Academic Press.ISBN978-1-904455-53-0.Archived(PDF)from the original on 9 April 2011.
  34. ^Orio Ciferri (March 1999)."Microbial Degradation of Paintings".Applied and Environmental Microbiology.65(3): 879–885.Bibcode:1999ApEnM..65..879C.doi:10.1128/AEM.65.3.879-885.1999.PMC91117.PMID10049836.
  35. ^Ciacci, Leonardo., ed, La Fenice Reconstructed 1996–2003: a building site in the city, (Venezia: Marsilio, 2003),118.
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