Known for its durability; a fresco painting is created in "sections" on freshly laid wet plaster; allowing the painter to comprehensively portray the subject and execute designs with ease. As both the paint and plaster dry; they become completely fused. Highly popular during the late-thirteenth to the mid-sixteenth centuries; fresco painting was almost a lost art by the time this book was first published in 1846. This volume; by a recognized authority in the field; was highly influential in reintroducing fresco painting to public attention. In addition to translating descriptions of painting methods used by such masters as Alberti; Cennini; Vasari; Borghini; Pozzo; and Pacheco; the author also interprets passages from rare manuscripts on the causes of fresco destruction and how to retouch; repair; and clean these works of art. Curators and art historians will find this classic reference work of immense importance and interest.
#498506 in eBooks 2012-05-09 2012-05-09File Name: B00A73B1AI
Review
0 of 1 people found the following review helpful. Skip it.By Steve ZeeThe books well written and researched but he missed 80% of the people and events that defined rock and counter culture.9 of 9 people found the following review helpful. A New Contribution To 60s Rock HistoryBy corry342There are a lot of books analyzing 60s rock history; but they generally suffer from one of two flaws: either they are a trainspotters guide; busily parsing the difference between Gram Parsons outtakes and the 13th Floor Elevators last single; or they are excessively theoretical tomes by academic who turn out not to be very knowledgeable about rock music beyond repeated listenings to a few Beatles albums. Both approaches generally hide the fact that the author doesnt really have much to add. Michael Kramers new book is a refreshing change. Kramer is knowledgeable and analytical; well grounded in both music history and cultural history; but he stands out by having a new way to consider the way in which rock music influenced and gripped the experience of the 1960s.The first half of The Republic Of Rock focuses on the rise of KMPX-fm in San Francisco; the first true "underground" rock radio station; as well as the ultimately canceled Wild West Festival. KMPX folded in the wake of a contentious strike by its hippie staff in 1968; supported by the local rock establishment; but the strike unfolded in a variety of ways that set the event apart from typical labor struggles. The broad facts of the KMPX strike are generally known; if somewhat foggily recalled; but Kramer does an excellent job unraveling the confusing threads. Even people well versed in the history of San Francisco rock in the 1960s will learn from these chapters--who knew that the Grateful Dead-managed Carousel Ballroom was one of the few entities advertising on KMPX throughout the strike?Having used the KMPX strike to define a way that rock invested culture in the 60s; Kramer turns his attention to another theater entirely: the Vietham War. There has been some commentary about music in Vietnam; usually reflected in the movie "Good Morning Vietnam" or in eyewitness accounts of celebrity tours for the troops. Yet Kramer analyzes the way in which rock was both presented as "subversive" and yet apparently tolerated; if not actually encouraged by the US Army; essentially as a morale booster. The story is too remarkable to summarize--who knew that Saigon had a club called Fillmore Far East--but the peculiar saga of the CBC Band anchors a unique and informative approach to 60s rock music that shines a new perspective on the era. I would recommend this book to anyone interested in the subject: you neednt be a 60s rock expert to understand it; but even those who are knowledgeable will learn plenty from Kramers careful research.