Ceiling Stencil Mural

It does not have to be always a sky mural. For this private residence I painted the dining room ceiling and the kitchen. The ceiling was first painted with a special base coat, then sanded to get a really smooth surface.  Afterwards a special paste, similar to Venetian Plaster was applied, which created  a velvet-like coat.  On top of the velvet coat I applied a Floral Stencil without sharp or harsh edges. It should blend into the ceiling. The stencil was applied in all four corners of the ceiling.
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Mural after a French Painting of Nicholas Lancret (1690-1743)

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The Mural “The Ballerina” has a great story. It is the story of  a great woman: Marie Camargo (orig. Marie-Anne de Cupis de Camargo; baptized in Brussels, 15 Apr. 1710, Paris, 28 Apr. 1770), a French dancer of Spanish and Italian descent and one of the most famous and influential ballerinas in history.
She was born as the daughter of Ferdinand Joseph de Cupis, the aristocratic Italian who was dancing master in Brussels. Marie made her debut in Brussels but continued her studies with Prévost and Blondy in Paris and became a member of the Paris Opera in 1726, where she became the first ballerina to exhibit a dazzling and virtuosic technique. On one famous occasion, she executed a sudden improvised solo to cover the gap left when one of her male colleagues failed to show up for his entrée. For eight years she enjoyed a fierce rivalry with the more graceful and poetic Sallé which ended when Camargo retired in 1734 to the country chateau of her lover, Louis de Bourbon, Comte de Clermont. In 1740 she returned to the stage where she spent ten successful years dancing in 78 ballets, and reaffirming her position as queen of the Paris Opera.
When she retired in 1751 she was granted the largest pension ever given to a dancer. She was possessed of a brilliant batterie and changed public perceptions about the way women should dance. Marie performed steps which were hitherto considered the exclusive province of the male—like cabrioles and entrechats—and even shortened the traditional skirt of the ballerina to just above the ankle to facilitate her more daring allegro movements, and to ensure that the public could actually see what she was doing with her feet.
She was one of the stars of 18th century ballet, influential in the fashion of the day, and the inspiration for many a culinary creation, including Filet de Bœuf Camargo, Soufflé Camargo, and Bombe Camargo. Petipa choreographed Camargo, a ballet in her honour, in St Petersburg (1872). Enrico de Leva and Charles Lecocq wrote operas about her. In 1930 the Camargo Society was founded in London.