Le maestranze di Galliano. Suggestioni e ipotesi in base alla lettura tecnica e stilistica delle pitture murali
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Since information on painting workshops of the eleventh century is scarce, the reading of some details of style and execution can provide precious clues. From the analysis of the apse paintings in Galliano, a variety of languages and techniques emerges, which goes from the flesh tones to the application of the final highlights in white: hence it seems
that the so-called ‘Master of the Apse’ was not a single fresco painter, but a team characterised by different styles but managing to obtain final coherent, balanced results.
Another point that emerges is the articulated planning of the work: the different personalities seem to work side by side with an almost chaotic nonchalance made possible by the application of small patches of plaster in the pontate.
All of these observations can also be made for the paintings in the nave, starting with the Scenes from the Life of St. Christopher, which critics have always isolated as the work of an easily identified fresco painter: instead, in the rendering of anatomical details, different typologies are also revealed here. They are hard to attribute to a single personality, and also find correspondences in other areas of the nave and in the apse,
although never with the same quality of execution. With the exception of the Genesis cycle, perhaps, the only one with special characteristics that are close to the apse paintings, we can hypothesize the simultaneous presence of different personalities working on more than one cycle and probably on both walls.
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