Painting and Science Get Hitched

If you read my last post, you’ll see that my thinking about abstraction led me on a historical journey that explored influential societal forces of the past. This morning I awoke realizing that in trying to deal with this complex subject, I forgot an important civilization-advancing phenomenon of the 19^th century. Namely, the illumination of the mind of man beginning around 1844 with the accompanying explosion of innovation. The long history of flat scientific achievement prior to this date can be expressed by a unverifiable story: In 1844, it was believed by some that everything that could be invented had been! One far-sighted Senator proposed that the patient office was no longer necessary and should be abolished. You can be sure that Thomas Edison wouldn't have liked his idea.

So what does the rise of invention have to do with painting? First, plein air painting as we know it would not have existed without an American painter by the name of John Goffe Rand. This had nothing to do with the influence of his art (you never heard of him, right) but it had everything to do with his invention. He invented the resealable paint tube in 1841/1844. Before his tin tube, artists kept their paint in tied-up pig bladders for both portability and to keep the paint from drying. They’ll prick a little hole in the bladder hoping it would not burst! Imagine painting without John Rand's invention! I'm thinking of the time when Monet asked John Singer Sargent to go out painting with him. When Sargent replied that he didn't bring his paints, Monet would have responded, "don't worry, I'll just fill up a few more pig bladders."

As we all know, Impressionism was devoted to “direct painting.” Monet claimed that he never had a studio. Of course, why would he need one if you always painted outside and paint was conveniently portable? Auguste Renoir insightfully pronounced, “Without tubes of paint, there would have been no Impressionism.” I find it interesting that at first the French painters complained about the increase in the cost of paint in a tube (were they poor or just had trouble with the new?).

The second phenomenon effecting painters during this period might be characterized by the slogan “better living through chemistry.” New pigments and better quality paint appeared just at the right time. Artists could now choose from a wide variety of new colors synthesized from cadmium, chrome, cobalt, and other elements. The introduction of cerulean blue must have delighted many a landscape painter. The new pigments produced an intensity of color never seen before. Plus, paint became more light-stable and thankfully less toxic. Although van Gogh could not be convinced to switch over to the new Viridian from his favorite Paris Green (also used as rat poison). Another technological advancement was to have a visible effect on the new painting. The improved quality and consistency of the paint made it possible for brushstrokes to be both thicker and to leave traces of the brush bristles. The result were surfaces that one can get lost in.

Now, if they can make a paint tube that the cap won’t get stuck or the threads stripped – I’ll be happy. Luckily, most of the paint I use (encaustic) comes in a form that resembles small colored hockey pucks. It’s an innovation in paint dating back 4,000 years that, by the way, didn’t require a tube.