Fresca - (it. Fresco, proaspat) Procedeu tehnic folosit in pictura murala, in care pigmentii (pulverulenti) sunt amestecati cu apa si aplicati pe un mortar de var umed (proaspat tencuit) , care il incorporeaza. Tehnica fresca se bazeaza pe asa numitul proces de carbonatare, prin care calcarul parcurge un ciclu chimic complet si redevine piatra, formandu-si la suprafata o pelicula dura, semisticloasa, asemanatoare marmurei. Odata uscata pictura in fresca nu mai este afectata de apa sau de alti agenti distructivi, impunandu-se ca una din cele mai durabile tehnici ale picturii.

Pentru fresca se prefera zidurile noi din caramida. Se aplica mai intai tencuiala numita arricio, apoi intonaco, in care se introduc materii fibroase, strat care incorporeaza culorile.Tencuielile sunt din materiale de umplutura (nisip, marmura etc.) si var (liantul prin excelenta al frescei) . Varul se prepara din piatra de calcar de cea mai buna calitate , care se stinge cu apa de rau in gropi adanci , captusite cu scanduri. Aici se tine intre 6 luni si 2-3 ani pentru a deveni mai putin activ cand se picteaza pe el .Ca nisip se foloseste cel de rau, aspru la pipait, care se spala, se usuca si se strecoara. Marmura macinata este preluata ca material de umplutura de la romani si creeaza tencuieli compacte si da o mare luminozitate picturii. Materiile fibroase taiate marunt se amesteca bine cu tencuiala inainte de a fi aplicata pe zid. Intonaco-ul cuprinde cuprinde de regule exclusiv fire fine de in sau de canepa. Culorile cele mai folosite in fresca sunt cele naturale, indeosebi pamanturile . Diluantul culorilor este apa curata, apa de var, sau laptele de var. Pictura se executa de obicei de sus in jos pentru evitarea stropirilor accidentale.

In spatial spiritual romanesc, pictura murala reprezinta una dintre cele mai spectaculoase realizari artistice, in care s-au contopit influientele bizantine si occidentale, cu traditia autohtona , rezultand o pictura de un rafinament artistic si ethnic de exceptie. Perenitatea peste secole a picturii bisericesti din Romania, dovedeste profunzimea si temeinicia acestei sinteze artistice, dar si faptul ca "zugravii" erau oameni de cultura, la current cu toate inovatiile artistice ale timpurilor lor. Cei 400 de pictori muralisti, existenti astazi in Romania realizeaza inca impresionante ansambluri de pictura bisericeasca, folosind cu precadere fresca, Romania fiind una dintre putinele tari din lume unde se mai foloseste aceasta tehnica. Aceeasi traditie este urmata si in cazul icoanelor pictate in tempera ,cu emulsie de ou, pe panouri de lemn, poleit cu foita de aur, sau a miniaturilor sculptate.
In present a fost semnalata tentatia eronata de a numi fresca orice pictura murala .In acceptia adevarata a termenului fresca este numai pictura executata pe mortarul proaspat (umed si nu umezit ulterior), adica procedeul tehnic caruia italienii ii spun buon fresco ( fr. fresque, it. affresco, al fresco, germ. Freskomalerei, engl. fresco-painting).

Bibliografie: Dictionarul de arta, Editura Meridiane, Bucuresti 1995.

Fresco - (It. Fresco, fresh). A technical method used in mural painting, in which the (pulverous) pigments are mixed with water and applied on wet lime mortar (freshly coated), which incorporates it. The fresco technique is based on the so-called process of carbonation, by which limestone covers a complete chemical cycle and becomes stone again, forming at its surface a hard, semi-hyaline layer, resembling marble. Once dried, the fresco painting is no longer affected by water or other destructive agents, imposing as one of the most durable painting techniques.

For fresco, new brick walls are preferred. First the coating (arricio) is applied, then intonaco, in which fibrous materials are introduced; this layer incorporates the colors. The coatings are from filling materials (sand, marble) and lime (the classical fresco binder). The lime is prepared from top-quality limestone, which is hydrated with river water in deep pits, planked with boards. It is kept here between 6 months and 2-3 years, in order to be less active when painted on. River sand is used, coarse to the touch, washed, dried and filtered. The ground marble is taken as filling material from the Romans and creates compact coatings, giving great luminosity to the painting. The minutely cut fibrous materials are well mixed with the coating before being applied on the wall. The intonaco usually exclusively comprises fine linen or hemp threads. The most frequently used fresco colors are the natural ones, especially earths. The color diluents are clear water, limewater or lime milk. The painting is usually executed from top to bottom to avoid accidental splashes.

In the Romanian spiritual space, mural painting represents one of the most spectacular artistic accomplishments, in which the Byzantine and Western influences merged with the autochthonous tradition, resulting a painting of an exceptional artistic and ethnic refinement. The perennial endurance of Romanian church painting proves the depth and soundness of this artistic synthesis, but also the fact that the "painters" were cultured people, up-to-date with all the artistic innovations of their times. The 400 Romanian contemporary muralist painters still realize impressive church painting ensembles, especially using the fresco technique. Romania is one of the few countries in the world where this technique is still used. Tradition is also followed in the case of the icons painted in anneal, with egg emulsion, wooden panels, coated with golden films, and in that of sculpted miniatures.

Presently there is a tendency to falsely call any mural painting a fresco. In its genuine use, the term of fresco designates only the painting that is executed on fresh mortar (wet, not moistened afterwards), that is the technical method the Italians call buon fresco (Fr. fresque; It. affresco, al fresco; Ger. Freskomalerei; Eng. Fresco-painting).

Bibliography: The art dictionary, "Meridiane" publishing house, Bucharest, 1995.