[et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_image=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/06\/01-Fresko-1.jpg“ height_tablet=““ height_phone=““ height_last_edited=“on|desktop“][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_2_font_size_tablet=“32px“ header_2_font_size_phone=“28px“ header_2_font_size_last_edited=“on|phone“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=““ header_3_font_size_last_edited=“on|tablet“][\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_2_font_size_tablet=“32px“ header_2_font_size_phone=“28px“ header_2_font_size_last_edited=“on|phone“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=““ header_3_font_size_last_edited=“on|tablet“][\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ header_2_font_size_tablet=“32px“ header_2_font_size_phone=“28px“ header_2_font_size_last_edited=“on|phone“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=““ header_3_font_size_last_edited=“on|tablet“ header_2_text_shadow_style=“preset3″ header_2_text_shadow_horizontal_length=“0em“ header_2_text_shadow_vertical_length=“0em“ header_2_text_shadow_blur_strength=“0.3em“ header_2_text_shadow_color=“#000000″ header_3_text_shadow_style=“preset3″ header_3_text_shadow_color=“#000000″]<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#ffffff“][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_orientation=“left“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“20px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“ header_4_font_size_tablet=““ header_4_font_size_phone=“16px“ header_4_font_size_last_edited=“on|phone“]<\/p>\n
[\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_orientation=“left“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“]In the centuries before Christ, the Romans overtook the Etruscan civilization and collected their Hellenistic-influenced culture in order to reinvent themselves. The arts continued to flourish, and so did visual art with them. To this day, Pompeii and Herculaneum are proof of the growing empire\u2019s cultural prosperity with their powerful columns and statues, and their magnificent mosaics and frescoes. The cultural influences from their oriental neighbors, and especially from the Greeks, can clearly be seen in Roman architecture and paintings. The Romans not only copied techniques, but also some of the content: Achilles, Dionysus, Amor \u2013 to name just a few of the gods and heroes who can be traced back to Greek mythology.<\/span>[\/et_pb_text][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/06\/DSC_3037-1-820×547-1.jpg“ alt=“Beltracchi malt das Gesicht des Kentauren“ title_text=“Beltracchi bei der Arbeit“ align=“center“ _builder_version=“4.7.3″ _module_preset=“default“ custom_margin=“||1px|||“ custom_padding=“||41px|||“ hover_enabled=“0″ sticky_enabled=“0″][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_text_color=“#666666″ text_line_height=“1.1em“ custom_margin=“0px||100px||false|false“ hover_enabled=“0″ text_font_size_tablet=“14px“ text_font_size_phone=“14px“ text_font_size_last_edited=“on|desktop“ sticky_enabled=“0″ text_font=“Open Sans||on||||||“ max_width_last_edited=“on|tablet“ max_width=“80%“ module_alignment=“center“]<\/p>\n Wolfgang Beltracchi malt das Gesicht des Kentauren Chiron in den nassen Putz. Es entsteht ein Fresko in der Handschrift des 2. Jh. n. Chr.<\/p>\n [\/et_pb_text][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_orientation=“left“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]<\/p>\n Achilles, the fearless demigod, presents his hunting catch to his teacher, the just centaur Chiron. In return, Chiron hands his pupil an apple as a symbol of immortality: \u201c\u2026and the boy already had the signs of defiance and zealous wildness on his forehead, but softened this expression with his innocent expression and his very friendly, gently smiling cheeks\u201d. This is how Philostratus the Elder describes a painting in his renowned \u201cEik\u00f3nes\u201d. They are the first known image descriptions to convey philosophical teachings, even if they describe paintings which may only be a myth.<\/p>\n Philostratus tells of his visit to a wealthy friend near Naples and how he and this man\u2019s son graze their fingers along 65 mythological motifs in a painting gallery. In doing so he construes Comus, tired after a grand celebration, Poseidon with the trident, or Apollo, frozen with fear after his fatal discus throw. By painting the education of Achilles, Wolfgang Beltracchi reverses the story and turns the description into a painting. In the style of antique frescoes, he illustrates the teaching and model functions of mythology which are still present for us today. We can see that even the ancient paintings were done in the tradition of cultural inheritance.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#666666″][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/06\/Folie1-2.png“ alt=“Beltracchi im Atelier“ title_text=“Der Malgrund wird vorbereitet“ _builder_version=“4.7.3″ _module_preset=“default“][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_text_color=“#f4f4f4″ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ hover_enabled=“0″ text_font_size_tablet=“14px“ text_font_size_phone=“14px“ text_font_size_last_edited=“on|phone“ text_font=“Open Sans||on||||||“ sticky_enabled=“0″]<\/p>\n The fresco needs a painting base. A dry construction board is coated with primer and layers of lime mortar are then applied.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/06\/Folie3-1.png“ alt=“Studie von Wolfgang Beltracchi“ title_text=“Studie von Wolfgang Beltracchi“ _builder_version=“4.7.3″ _module_preset=“default“][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_text_color=“#f4f4f4″ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ hover_enabled=“0″ text_font_size_tablet=“14px“ text_font_size_phone=“14px“ text_font_size_last_edited=“on|desktop“ sticky_enabled=“0″ text_font=“Open Sans||on||||||“]<\/p>\n In a study, Wolfgang Beltracchi sketches the young Achilles in sections. As a symbolic pupil, he copies the moves of Commodus, the son of Marcus Aurelius. The \u201cPhilosopher\u201d led a virtuous life and placed great importance on the appropriate education of his son.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/06\/Folie4-2.png“ title_text=“Unterzeichnung des Freskos“ _builder_version=“4.7.3″ _module_preset=“default“][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_text_color=“#f4f4f4″ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ hover_enabled=“0″ text_font_size_tablet=“14px“ text_font_size_phone=“14px“ text_font_size_last_edited=“on|desktop“ sticky_enabled=“0″ text_font=“Open Sans||on||||||“]<\/p>\n The underwriting of the depicted scene is already on the plaster: Achilles with his catch and his teacher, the half-man, half-horse centaur Chiron.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_image src=“https:\/\/www.mse-kunsthalle.de\/wp-content\/uploads\/2021\/06\/Folie2-2.png“ alt=“Beltracchi bei der Arbeit“ title_text=“Beltracchi bei der Arbeit“ _builder_version=“4.7.3″ _module_preset=“default“][\/et_pb_image][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_text_color=“#f4f4f4″ text_line_height=“1.1em“ custom_margin=“0px||41px||false|false“ hover_enabled=“0″ text_font_size_tablet=“14px“ text_font_size_phone=“14px“ text_font_size_last_edited=“on|phone“ sticky_enabled=“0″ text_font=“Open Sans||on||||||“]<\/p>\n Now the artist must be quick. Beltracchi uses the ancient Buon Fresco technique. With this technique, the plaster must be wet until the very last brush stroke. Within a few short hours, the artist paints the picture on fresh plaster with pigments ground in travertine water.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#ffffff“][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ text_orientation=“left“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]<\/p>\n In ancient Rome,\u00a0mural painting was in its heyday and the occupation \u201cartist\u201d was appropriately prestigious. But the names of the ancient Roman painters are hardly known today as they did not sign their works.<\/span><\/p>\n <\/span><\/p>\n In ancient Rome, paintings were both sacred and secular and were popularly used for decoration. While the depictions of mythological scenes found in the homes of this financially strong society exhibit the sophisticated techniques that were used, the drawings used for advertising purposes are quite simple. Brothel scenes or a fish in the cookshop \u2013 the main thing is that the message is clear.<\/p>\n Die\u00a0artistic motifs are often devoted to the gods and heroes from Greek mythology, something which shaped the education of the upper Roman classes.<\/span><\/p>\n Columns, doors, marble slabs, or the imaginary view over the countryside and temples \u2013 the painters masterfully bring mock architecture to the walls and use every square centimeter to do so. Homes are thereby upgraded and underline the social status of their owners.<\/span><\/p>\n As a stylistic element, the architectural imitations are quite different when looked at in detail. However, the defining elements are always constructed according to the same pattern: a simply designed base, an elaborate middle section usually covered with paintings or ornamental panels, and an upper section with architectural elements.<\/span><\/p>\n As the scolar\u00a0Gaius Plinius Secundus in seiner \u00bbnaturalis historia\u00ab 77 n. Christus vermerkte, gab es im alten Rom einen Trend von der Tafelmalerei hin zur Wandmalerei (Fresko). Bei der Tafelmalerei wurde meist mit in Wachs gebundenen Farbpigmenten (Enkaustik) oder mit Tempera auf Holz gemalt. F\u00fcr die immer beliebteren Fresken trugen die K\u00fcnstler in Kalksinterwasser gebundene Pigmente auf den frischen Putz auf.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=“1″ _builder_version=“4.7.3″ _module_preset=“default“ background_color=“#242424″][et_pb_row _builder_version=“4.7.3″ _module_preset=“default“ custom_padding=“||0px|||“][et_pb_column type=“4_4″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ text_orientation=“left“ custom_margin=“||-2px||false|false“ custom_padding=“||0px|||“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.7.3″ _module_preset=“default“ custom_padding=“||0px|||“][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ text_orientation=“left“ custom_margin=“||-2px||false|false“ custom_padding=“||0px|||“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“] Roman art<\/a><\/p>\n Byzantine icon painting<\/a><\/p>\n Medieval art<\/p>\n Early Netherlandish painting<\/p>\n Italian Renaissance<\/p>\n German Renaissance<\/a><\/p>\n Mannerism<\/p>\n Early Baroque<\/p>\n Little Ice Age<\/a><\/p>\n Dutch Golden Age<\/a><\/p>\n Rokoko<\/p>\n German Romanticism<\/a> <\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.7.3″ _module_preset=“default“][et_pb_text _builder_version=“4.7.3″ _module_preset=“default“ header_3_text_color=“#ffffff“ text_orientation=“left“ custom_margin=“||-2px||false|false“ custom_padding=“||0px|||“ text_font_size_tablet=“14px“ text_font_size_phone=““ text_font_size_last_edited=“on|tablet“ header_3_font_size_tablet=“22px“ header_3_font_size_phone=“18px“ header_3_font_size_last_edited=“on|tablet“]English Romanticism<\/a><\/p>\n Impressionism<\/p>\n Post-Impressionism<\/p>\n Symbolism<\/p>\n Art Nouveau<\/a><\/p>\n Futurism<\/p>\n Expressionism<\/a><\/p>\n Avant-garde<\/a><\/p>\n New Objectivity<\/p>\n Surrealism<\/p>\nRole-models become images<\/span><\/h3>\n
Roman art<\/span><\/h3>\n
1. From art to advertising<\/h5>\n
2. In good old tradition<\/h5>\n
3. What isn't real is painted
<\/span><\/h5>\n4. Image composition by the book
<\/span><\/h5>\n5. Wall paintings become the trend
<\/span><\/h5>\nEras of art in the KAIROS project<\/span><\/h3>\n