FACADE ART USING TRADITIONAL CRAFTSMANSHIP
Anyone travelling to Mittenwald in the Werdenfelser region at the foot of the Karwendel will notice immediately that the place is really quite special: Large pictures adorn the walls of the old houses. For centuries, frescoes have been an integral part of the villages and towns of Upper Bavaria. They tell stories of traditional life and the deeply rooted beliefs of the inhabitants: Woodworkers and raftsmen go about their hard labours, St. Christopher carries the Baby Jesus over the river and a great celebration is underway in a merry inn scene.https://www.bavaria.by/country-people/bavarian-crafts/facade-painter-bernhard-rieger/
German Fresco Painting and the New Houses of Parliament at Westminster, 1834-1851
In 1841, a select committee proposed that the houses of parliament at Westminster, which were being rebuilt in the aftermath of the fire of 1834, be decorated with fresco paintings and that Ludwig I of Bavaria's patronage of the arts be used for guidance. Both recommendations were surprising, for Britain had neither any tradition of public painting, nor any obvious ties with the south German state. This article explains why the committee was so sensible to Ludwig's example, and what it hoped to achieve by introducing fresco painting into Britain. The scheme was to serve not only as the means of establishing a national school of painting that could compete with the modern German school, but also as an integral part of a broader endeavour to construct a national culture in Britain that was both patriotic and socially inclusive. The national potential of this state-sponsored scheme of art promotion came to be undermined, however, by the emergence of both political and religious hostility to such German-style patronage in Britain. The article highlights not only the crucial role played by German art in the endeavour to construct a national culture in Britain, but also the continuing potency of religion as an element of British national identity during the first decade of Victoria's reign. It also draws attention to the fundamental role played by Prince Albert in his capacity as president of the fine arts commission, and the extent to which the debate surrounding the commission's proceedings provided the essential context for both the emergence and reception of the Pre-Raphaelite brotherhood in 1848-50.https://www.jstor.org/stable/4091561?seq=1
Lüftlmalerei, (also spelt Lüftelmalerei) is a form of mural art that is native to villages and towns of southern Germany and Austria, especially in Upper Bavaria (Werdenfelser Land) and in the Tyrol
The origin of the term is disputed but may have come from the name of the home of façade artist, Franz Seraph Zwinck (1748–1792) of Oberammergau, Zum Lüftl.
Lüftlmalerei is a popular, folk-oriented variation of trompe-l'œil from the Baroque and imitates architectural elements. As in 'high architecture' it also embeds pictorial cartouches, mirrors and fields. Its subject matter ranges from the patron saints of houses or house emblems to representations of Biblical stories and the classical motifs of peasant art from everyday rural life to hunting. Banners with mottos are common and the sundial is also a popular element.
The paintings are applied to the fresh lime plaster using a fresco technique, whereby the colours silicify with the plaster in a chemical reaction and the paintings are thus able to survive for a long time. Today, other weatherproof painting materials are also used.https://en.m.wikipedia.org/wiki/Lüftlmalerei
Pride in Your Property – The Fresco Houses of Oberbayernhttps://theworldbyroad.com/blog/2013/09/09/pride-in-your-property-the-fresco-houses-of-oberbayern/
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.https://en.m.wikipedia.org/wiki/Italian_Renaissance_painting