Word: frescoe
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...Clemente is a curiously polymorphous artist. He works, not always with the same assurance, in numerous media: fresco, watercolor, pastel, oil on canvas, sketchy washes over silver leaf. His work embraces a lot of art-book references, from the overripe baroque of his native Naples to Tantric symbolism. It is full of occultism, tarot, necromancy, devils, Sabbats and pallid sexual grotesquerie. It always looks hasty. It is heavy on the orifices: eating, coupling, defecating; the mood varies from mysterioso rhetoric to voyeurism. One moment Clemente is quoting poses from Giulio Romano's illustrations to Aretino to Indian miniatures (he spends...
...decision to clean the Sistine frescoes, made four years ago by the curatorial officers of the Vatican museums, headed by their director general, Carlo Pietrangeli, and their secretary-treasurer, Walter Persegati, is one of the most courageous ever made in the field of art conservation. The work has three stages and will take until 1992. The years 1980 to 1984 saw the cleaning of the lunettes, depicting the ancestors of Christ--until now the least visible part of Michelangelo's immense scheme. The years 1985 to 1988 will be spent on the ceiling and spandrels--the figures of the giant...
...straw model because the King is too busy to pose), the hidden Christian imagery of Goya, the palette of the impressionists, the contained violence of the fauves and cubists. Ventura augments photographs of the paintings with his own sketches of the artists at work, explains such terms as fresco and perspective and concludes with a series of brief biographies. There are yearlong art-appreciation classes that do not contain as much information and delight...
...cast himself as the last conduit of classical prototypes, the stiffer and more self-satisfied his work be came, a decline most evident after he moved to the Villa Medici in 1961. The measured suppleness of Balthus's paint surface now began to ossify, acquiring a thick, chalky, fresco-like appearance. It was meant to suggest the warmth and historical patina of old Roman walls, and so it did, but in a merely decorative way. "Pier rot della Francesca," the gibe of one of Balthus's contemporaries, hits the late paintings dead center...
...almost hear this eager whisper down the corridors of Orion Pictures: "The Hotel New Hampshire could be the Tom Jones of the American '80s." Same director (Tony Richardson), same teeming fresco of endearing eccentrics, same Rabelaisian appetite for sex as the main course in the banquet of life, same giddy mixture of the farcical and the funereal, same pilfering of every silent-comedy trick from fast-motion camerabatics to actors who step out of character to wink knowingly at the audience...