Irving Stone's book, "The Agony and The Ecstasy" is one of the best examples of books based in art history. He tells the story of the creation of the Sistine Chapel ceiling. The book is a great read but the movie starring Charlton Heston and Rex Harrison brings his words to life. You see how a work goes from patronization, through conception, the process of creation, and the agony of deciding when a piece is considered complete vs. wanting to destroy it and start all over.
The most amazing thing about the film is the first 5 minutes. There is a mini-lecture/documentary detailing the sculptural history of a man who's works have truly seen no modern day equal. Many people will never have the opportunity to travel to Italy and see Michaelangelo's works in person, so seeing camera close-ups are amazing. I have had the opportunity to see many in person and they are truly breath-taking.
I have also had the opportunity to stand in the Sistine Chapel and there is nothing that I can compare to that experience. This particular trip was the catalyst in my choosing to study Art History. But, when you stand in that room you are still 70 feet from this fabulous work and the easiest way to see it is to lay down on your back. Which you can't do because there are so many people. (This is not the case when you are in Florence. You can lay on the floor and stare up into Il Duomo.)
When you see the movie, you're able to see how he painted this fresco. Fresco work is not easy. I have done it and wanted to scream. When it dried, half my work was gone because the pigments had disappeared. The only way to fix this is to scrape off the entire layer of plaster and start over. To complete a work in this medium on a canvas the size of the ceiling virtually upside down, is something I cannot fathom doing. I would have gone a bit insane and started throwing things at people. Those who did the restoration work are to be commended. Just the thought of touching his work or attempting to repair anything he did makes my stomach hurt.
To discuss the actual process of working in fresco I would like you to think of simply painting a wall that has been freshly plastered. You can choose to wait for that plaster to dry or paint directly on top of the wet plaster. Wet plaster is extremely difficult to paint. It comes off into the brush, the humidity of the medium plays havoc with the coloration of the pigment, and you are under a strict time constraint because it's drying as you're working. Not to mention every time you touch it you are adding texture to the surface whether you want it there or not.
Fresco secco is an entirely different animal. It is dry but unprimed plaster so it absorbs any moisture in the pigment as you're working on it. It takes layers and layers of paint to make anything stand out. You're almost painting the exact same thing in triplicate because the first and second coats act as a primer. Now imagine doing this over and over on a work as detailed and large as the Sistine Chapel and you will get an inkling of how nerve-wracking, exhausting, and magnificent it truly is. I would have thrown things at Pope Julius every time he asked, "When will it be done?"
to be continued.....
PS-The film is available to watch on Netflix if you have an account.
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