intonaco


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intonaco

(ɪnˈtəʊnəˌkəʊ)
n
(Art Terms) a wet plaster surface on which frescoes are painted
References in periodicals archive ?
Ademas de este conjunto, otros 4 fragmentos --con mortero de preparacion de grosor conservado entre 1,2/1,3 y 0,9 cm y fino intonaco de menos de 1 mm de grosor--muestran rasgos aparentes de letras pintadas; sus reducidas dimensiones y deficiente conservacion--por lo que no se reproducen--excluyen cualquier posibilidad de identificar caracteres o de intuir su ubicacion, aunque parecen pertenecer al mismo titulus.
Anche in questo angolo d'Italia si vive all'insegna della precarieta e provvisorieta, come stanno ad indicare nell'abitazione la mancanza di intonaco sulle pareti, di porte e finestre.
The intonaco (top layer of plaster) exhibits the rough surface of Masaccio and Masolino's time, rather than the finer quality intonaco of Lippi's.
The pictorial remains of The Annunciation consist of an architectural setting with landscape portrayed on the top layer of the intonaco, and the silhouette underneath of an angel on the base layer of detached plaster (the martellinatura, or hammering, on the surface was in preparation for a top layer of intonaco, or fine plaster, for painting).
Como es propio de esta tecnica, una primera silueta de la composicion en negro y los colores de base de los campos generales monocromos planos se aplicarian al fresco estando el intonaco todavia humedo.
Ranieri, nel Camposanto, colta nel corso di lavori eseguiti scriteriatamente: "Ieri dovevano erigere un monumento a un farmacista, e cosi sono arrivati gli operai e hanno fatto un bel buco nena parete; ovviamente, ogni martellata faceva staccare un altro po' di intonaco den'affresco, gia allentato, e contemporaneamente ha distrutto quanto restava di una testa di Antonio Veneziano.
12) A late date seemed dictated by the graphic style of the extensive and wonderful sinopie (wall drawings on the arriccio [penultimate layer of plaster]) and underdrawings on the intonaco (top layer of plaster) that are only visible because the work was left unfinished.
The paint penetrates the intonaco and the powdered pigments become part of the wall as it dries.
The final coat of smooth, brilliant white limestone and sand, or intonaco, must be damp when the artist begins to paint; hence the term fresco, which means "fresh.
Masaccio may have outlined the composition on the arriccio (the rough lower coat of plaster), but the episode was not finished on the intonaco (the smooth, final coat of plaster) until several decades later by Filippino, who apparently added some portraits of contemporaries.