Fun Easy Art - John Vandebrooke (historical books to read TXT) 📗
- Author: John Vandebrooke
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It is possible that at about that time the crude paint applied with tar brushes to the ships was refined for the art of painting on panels. Pliny mentions two artists who had in fact started out as ship painters.
The use of encaustic on panels rivaled the use of tempera, in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow, difficult technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly life-like. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Pliny refers to encaustic paintings several hundred years old in the possession of Roman aristocrats of his own time.
The nature of encaustic to both preserve and color gave it wide use on the stone work of both architecture and statuary. The white marble we see today in the monuments of Greek antiquity was once colored, probably delicately tinted like the figures on the Alexander sarcophagus in Istanbul. Pliny says that when the sculptor Praxiteles was asked which of his pieces he favored, he answered those "to which [the painter] Nicias had set his hand." Decorative terra cotta work on interiors was also painted with encaustic, a practice that was a forerunner to mosaic trim.
Perhaps the best known of all encaustic work are the Fayum funeral portraits painted in the 1st and 2nd centuries A.D. by Greek painters in Egypt. A significant Greek population had settled in Egypt following its conquest by Alexander, eventually adopting the customs of the Egyptians. This included mummifying their dead. A portrait of the deceased, painted either in the prime of life or after death, was placed over the person's mummy as a memorial. Many of these pieces have survived to our own time, and their color has remained as fresh as any recently completed work.
In the great period of economic instability that followed the decline of the Roman empire, encaustic fell into disuse. Some work, particularly the painting of icons, was carried on as late as the 12th century, but for the most part it became a lost art. The process was cumbersome and painstaking, and the cost of producing it was high. It was replaced by tempera, which was cheaper, faster, and easier to work. In the 18th century the idea of encaustic painting was revived, initially by amateurs as a novelty to rediscover the techniques of the ancient painters. It was further explored in the 19th century, to solve the problem of dampness faced by mural painters in northern climates. The success of these efforts was limited, and encaustic remained an obscure art form.
In the 20th century, the availability of portable electric heating implements and the variety of tools has made encaustic a far less formidable technique. This factor has created a resurgence of encaustic painting, and it is once again taking its place as a major artists' medium. "Its effects, its visual and physical properties, and its range of textural and color possibilities make it eminently suitable for use in several different contemporary styles of painting that are not adequately served by our traditional oil-painting process."
Fayum Painting
“The Mysterious Fayum Portraits: Faces from Ancient Egypt” by Euphrosyne Doxiadis
Paintings from the 1st century BC to 3rd century AD. The climate in Egypt and the conditions there allowed these paintings to survive. Similar Hellenistic – Egyptian paintings were produced in many places of the Roman Empire but only in Fayum many examples were found. The image of a woman could be similar to the portraits produced by Iaia of Cyzicus, a woman Greek painter. According to Pliny the Elder she worked in Rome producing paintings of women and a self-portait. These portraits on wooden panels included in mummies probably represent the deceased. The instruments used:
• cauter or cauterium, an instrument used to fix the colors
• penicillum or penicill, a brush
• cestrum, a (probably hot) graver
How and if these instruments as Pliny mentions were used is actually not known as the opinions of the experts differ. As the portraits show young men and women either they show the persons when they were young or it shows also that the life expectancy at that time was rather small. The encausting technique was a Greek method used in Egypt to produce these brilliant paintings. The method originated in Classical Greece in the fifth and fourth centuries BC.
Among these portraits there is a young boy with a Greek name, Eutyhes . His name probably is derived from eu and tyhe which means good and luck or lucky and in modern Greek also happy. But he was probably not so lucky and died very young probably around 50-100 AD. Due to the influence of the Greeks in Egypt for around 300 years and later the Romans many persons shown have Greek names and wear Roman clothes but their religion is Egyptian.
“Fayum Painting from Portrait-Painting in Ancient Egypt”
by Amelia Ann Blanford Edwards
Finer by far, as a work of art, is the portrait of a young man named Diogenes He was apparently a professional musician. A small wooden label found with the mummy-case calls him "Diogenes of the Flute of Arsinoe;" while a second inscription, written in ink upon one of the mummy-wrappings, describes him as "Diogenes who abode at the Harp when he was alive." From these it is evident that he was a flautist, born in the city of Arsinoe, and that when he came to live at Hawara, he lodged at the sign of the Harp. The panel, like too many others, is badly cracked; but the head is so characteristic, and the expression so fine, that not even this blemish mars its effect. There is a set look in the face, as of some solemn purpose to be fulfilled; and the eyes arrest us, like the eyes of a living man.
Imprint
The use of encaustic on panels rivaled the use of tempera, in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow, difficult technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly life-like. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Pliny refers to encaustic paintings several hundred years old in the possession of Roman aristocrats of his own time.
The nature of encaustic to both preserve and color gave it wide use on the stone work of both architecture and statuary. The white marble we see today in the monuments of Greek antiquity was once colored, probably delicately tinted like the figures on the Alexander sarcophagus in Istanbul. Pliny says that when the sculptor Praxiteles was asked which of his pieces he favored, he answered those "to which [the painter] Nicias had set his hand." Decorative terra cotta work on interiors was also painted with encaustic, a practice that was a forerunner to mosaic trim.
Perhaps the best known of all encaustic work are the Fayum funeral portraits painted in the 1st and 2nd centuries A.D. by Greek painters in Egypt. A significant Greek population had settled in Egypt following its conquest by Alexander, eventually adopting the customs of the Egyptians. This included mummifying their dead. A portrait of the deceased, painted either in the prime of life or after death, was placed over the person's mummy as a memorial. Many of these pieces have survived to our own time, and their color has remained as fresh as any recently completed work.
In the great period of economic instability that followed the decline of the Roman empire, encaustic fell into disuse. Some work, particularly the painting of icons, was carried on as late as the 12th century, but for the most part it became a lost art. The process was cumbersome and painstaking, and the cost of producing it was high. It was replaced by tempera, which was cheaper, faster, and easier to work. In the 18th century the idea of encaustic painting was revived, initially by amateurs as a novelty to rediscover the techniques of the ancient painters. It was further explored in the 19th century, to solve the problem of dampness faced by mural painters in northern climates. The success of these efforts was limited, and encaustic remained an obscure art form.
In the 20th century, the availability of portable electric heating implements and the variety of tools has made encaustic a far less formidable technique. This factor has created a resurgence of encaustic painting, and it is once again taking its place as a major artists' medium. "Its effects, its visual and physical properties, and its range of textural and color possibilities make it eminently suitable for use in several different contemporary styles of painting that are not adequately served by our traditional oil-painting process."
Fayum Painting
“The Mysterious Fayum Portraits: Faces from Ancient Egypt” by Euphrosyne Doxiadis
Paintings from the 1st century BC to 3rd century AD. The climate in Egypt and the conditions there allowed these paintings to survive. Similar Hellenistic – Egyptian paintings were produced in many places of the Roman Empire but only in Fayum many examples were found. The image of a woman could be similar to the portraits produced by Iaia of Cyzicus, a woman Greek painter. According to Pliny the Elder she worked in Rome producing paintings of women and a self-portait. These portraits on wooden panels included in mummies probably represent the deceased. The instruments used:
• cauter or cauterium, an instrument used to fix the colors
• penicillum or penicill, a brush
• cestrum, a (probably hot) graver
How and if these instruments as Pliny mentions were used is actually not known as the opinions of the experts differ. As the portraits show young men and women either they show the persons when they were young or it shows also that the life expectancy at that time was rather small. The encausting technique was a Greek method used in Egypt to produce these brilliant paintings. The method originated in Classical Greece in the fifth and fourth centuries BC.
Among these portraits there is a young boy with a Greek name, Eutyhes . His name probably is derived from eu and tyhe which means good and luck or lucky and in modern Greek also happy. But he was probably not so lucky and died very young probably around 50-100 AD. Due to the influence of the Greeks in Egypt for around 300 years and later the Romans many persons shown have Greek names and wear Roman clothes but their religion is Egyptian.
“Fayum Painting from Portrait-Painting in Ancient Egypt”
by Amelia Ann Blanford Edwards
Finer by far, as a work of art, is the portrait of a young man named Diogenes He was apparently a professional musician. A small wooden label found with the mummy-case calls him "Diogenes of the Flute of Arsinoe;" while a second inscription, written in ink upon one of the mummy-wrappings, describes him as "Diogenes who abode at the Harp when he was alive." From these it is evident that he was a flautist, born in the city of Arsinoe, and that when he came to live at Hawara, he lodged at the sign of the Harp. The panel, like too many others, is badly cracked; but the head is so characteristic, and the expression so fine, that not even this blemish mars its effect. There is a set look in the face, as of some solemn purpose to be fulfilled; and the eyes arrest us, like the eyes of a living man.
Imprint
Text: © John Vandebrooke and Fun Easy Art. Unauthorized use and/or duplication of this material without express and written permission from this author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to John Vandebrooke and Fun Easy Art, with appropriate and specific direction to the original content.
Publication Date: 11-08-2010
All Rights Reserved
Dedication:
To my loving wife Muriel
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