It’s called “graffito over fresco”, and it’s essentially two layers of fresco, the second one with colored lime, which is used for color and also for the texture and design effects such as the waves or the texture in the friar’s robe, made of rough cloth. This gives the murals a tactile quality.

Baby Jesus, meanwhile, with a trapezoidal halo, is kicking off Death. The transition from the bed scene to this one is achieved through the red wrappers, as well as the wavy air that disappears under the bed. But those “waves” reveal the remarkable technique the author has been using.

A capuchin monk is giving him a bit of succor, apparently at home, the man barely breaking a smile while he holds on to a four-prong walking stick. The shelves at the right look like an old pharmacy, with ceramic pots holding who knows what. Is it trying to convey the monks have convent pharmacies?

Built following the hygienist tendencies of the 1920s, high windows, every room open to the exterior, it has an H shape. The windows are so high they break into the roof; that and the little decorative “acrótera” are a signature of the architect, apparently.
It’s now a retirement home, so no visit.

The only hints at sanctity are the books, a bit further apart, that use the rosary as a bookmark. All made in bronze, life size, really standing out with respect to the other saints in that part of the church, that include Padre Pío. All in all, not quite a masterwork, but a remarkable work of art.

Although, to be honest, the posture is a bit awkward, the way it’s not standing but sitting cross-legged on the plinth, as if setting up the slides for the choir, makes it closer to the public, just the guy next door who knows computers. But subtle hints point to his Franciscan links: tau as logo

If you include anything that flies, like drones, that’s already happening.

This is why movements such as suprematism upload.wikimedia.org/wikipedia/co... open new avenues and create new languages for expression to everyone, from the highbrow artist to the decorators trying to create a certain kind of atmosphere in a provincial restaurant.

This is an acrylic on old paper work, but check out how it blends with the wall color and the wooden beams, it’s as if the whole set was a painting framed in wood. The primary shapes used in the paintings really help that way: they don’t draw attention to themselves, rather they create a texture.

de Silicia y le dio una importante dote. Viuda de su primer marido, en 1580 Sofonisba se casó con Orazio Lomellino, un capitán de barco que apoyó incondicionalmente la profesión de su esposa.

Gracias al apoyo de su marido, junto con su destacada fortuna y la pensión recibida de Felipe II, Sofonisba

2/2 Girl who does not take lessons seriously. But who is teaching who here? Drawn by Sofonisba Anguissola.

2/2 The artist's sister Minerva (great name!), painted in 1564 by Sofonisba Anguissola. It's her day today.