FRESCO PAINTINGS
The fresco technique of mural painting used by Guido Nincheri dates back to ancient times. It is known to have been used in the classical and pre-classical periods in the Mediterranean region but the technique reached its greatest development in the Italian Renaissance. Many of the foremost painters of history, such as Giotto, Ucello, Masolino, Raphael and Michelangelo engaged its practice. The technique is so difficult and demanding of the artist that it passed out of use in the 18th century and has been revives by a very few artists in the 20th century.
The technique is difficult to apply as it calls for meticulous preparations and an excellent knowledge of the required materials (lime, sand and coloured pigments) as well as a soft touch, which seldom co-exist. The preparation work is meticulously detailed because touch ups are not possible. Once applied, the colours are absorbed into the plaster that is a quick drying substance. After that, colours cannot be applied any longer. Frescoes are done on location; artists must climb on scaffolds and work in damp, cold sites and in very uncomfortable positions.
Despite the difficulties in its use the rewards to the artist and art lover are great. When carried out with skill and a deep understanding of the materials, fresco painting has a lasting beauty and freshness of colour that surpasses all other techniques. In addition, since the colours become chemically bound to the surface, it is a very durable medium. It is considered excellence in painting to this day.
Guido Nincheri
Guido Nincheri was one of only three artists to develop the fresco technique in North America, the other two being the Mexican artists Diego Rivera and José Orozco. At first Nincheri was unsure if the technique could be successfully transposed from the Mediterranean to the harsher climate of Canada. After some trials he became confident that it could; so much so that he guaranteed his work. If he was unsure he would accept payment years later, once his art had proven itself over time.
In St. Anthony's Church Nincheri immortalized, as was customary during the Renaissance, the people close to the community. Christ the King has the face of Brother Conrad Morin, O.S.M.; the two angels are the faces of Miss Madelene Warren (right) and Miss Audrey Killeen (left); the face of the Madonna was almost always that of his wife Giulia, who used to design clothing. The artist used his son Gabriel Nincheri as a model for the Seven Holy Founders of the Servite Order.
Nincheri was a prolific painter and architect who worked on projects all over eastern Canada and the United States. There are other examples of Nincheri's work in Ottawa including a fresco in St. Teresa's Church, other murals in St. Patrick's Basilica and stained glass windows in Notre-Dame Basilica. The frescoes in St. Anthony's Church are typical of our "North-American Michelangelo". Here, like a true Renaissance artist, he was responsible not only for the murals, but for the entire interior design including the magnificent stained-glass windows.
Website: www.stanthonysottawa.org
E-mail: stanthonysottawa@hotmail.com
