Tuesday, November 24, 2015

Encaustic Paint and Antiquity

Last Friday, November 20th, I gave a presentation with Mike Lesczinski (co-owner of Enkaustikos Paint) to a packed room of New York State art teachers at their annual convention. The topic of the talk was Interdisciplinary Studies and Encaustic Paint. I have a love of the ancient world, so this topic was right up my alley. I thought I would share a few highlights from the presentation that might interest those that like history and life in ancient times.

Let's start with Paint. Paint was important in the ancient world, especially Greeks. They painted everything – bright colors too! It's believed that the Greeks invented encaustic paint, many thousands of years ago. It is a simple formula that combines bee's wax, tree sap, and various pigments. The Greeks were known to use encaustics on their boats, temples, and statuary. One of the earliest references of the use of encaustic paint can be found in the writings of Homer. He describes Ulysses' warships as being painted red. If you were going the paint the hull of a ship - selecting a waterproof paint might be a smart choice. The alternative paint of the age was tempera – not so good immersed in water. Red pigment was available in the form of Minium (lead tetoxide) and Hematite (iron oxide). The Greeks probably when with the lead pigment since it wouldn't break down in sea water like iron oxide.



Red Pigment: Minium or Lead Tetoxide, mined in Spain 
near the Minius River, its Roman namesake.

To create color, artists have been using natural pigments since 40,000 BC. The first synthetic color was invented in 1725. Attempting to make red, they created Prussian Blue. A wonderful color that is also a medicine. It is still used today and has properties no other color possesses. However, if you paint with acrylics or water colors you are out of luck – Prussian Blue is not water soluble. By the way, Enkaustikos makes a very high quality encaustic Prussian Blue.

The Greeks painted (polychome) all marble statues using encaustic paint. Which had the added benefit that it could be polished after it was applied. Below is a krater (greek vase) illustrating encaustic paint being applied to a marble statue. Note the assistant heating the applicators in hot coals. Most ancient marble statues were painted and only a very few show any evidence of being colored.





I think many of us would prefer the aged
condition of marble statues (sans paint). 
Can you image Michelangelo painting David?


The most noteworthy example of encaustic painting came with the discovery of the Fayum Mummies. In 1887, British Egyptologist Flinders Petrie discovered the first group of mummies in a necropolis south of Alexandra, Egypt (about 100 were found, today they number to nearly 1000). The mummies dated back to the late 1st century BC to 3rd century AD and include a cross section of people living in ancient Roman times. What's remarkable is that the traditional gold idealized masks that were common for thousands of years were replaced with highly realistic portraits of the dead. The ideal became the real! These highly detailed portraits were painted on wood panels using encaustic paint. The paint is so well preserved that the portraits look like they were just completed. 




The mummies are a wonderful example of the fusion
of Egyptian, Greek, and Roman cultures. 


Quick history review: The Egyptian civilization dates back to 3,150 BC. In 332 BC, Alexander conquered Egypt (more like they surrendered) and upon his death, his general Ptolomy, took over as Pharoah. The Greeks then ruled for 300 years! Remember, Cleopatra was Greek and the last Ptolomy to rule Egypt. The Romans conquered Egypt by defeating Anthony in the battle of Actium in 30BC. 

So most of the Fayum mummies were of people living during the first 300 years of Roman occupied Egypt. Here's are just few pictures of what they looked like, the clothes they wore, how they styled their hair, and the jewelry with which they adorned themselves.




I've studied many of these portraits and I have noticed a common style or format to them. Most portraits are facing forward in an upright position with the head slightly turned creating a slight shadow, which defines the nose and creates volume. What is most fascinating is the eyes are rendered with a portion of the white of the eye showing under the pupil. And, sometimes the eyes are slightly larger than they should be. This gives the portrait a mysterious feel.  This dramatic depiction of the eyes has the illusion of the dead staring at the viewer. It is an arresting effect. A "knowing" look that makes you feel as if they were about to reveal their inmost thoughts or you caught them in a moment of contemplation.

Well as usual, I probably went on for too long. There are a lot of Fayum mummies to explore on-line. However, they are exhibited in many museums around the world including the Metropolitan and Brooklyn museums in NYC. They are amazing in person!

One more thing. Encaustic painting was highly prized in the ancient world. In fact, Julius Caesar purchased an encaustic painting from the artist Timomakos, probably to adorn a temple. And, he paid handsomely for it - 80 Talents! That's $3,100,000 in 2009 dollars. 














Saturday, November 7, 2015

Odalisque and the Virgins

I just completed two new paintings, shown below. Both are experiments that are a continuation of the painting "Arks of Shadow and Light" now on exhibit at the National BAA Encaustic Competition in Ventura, CA (See Post August 4, 2015 "My Wooly Experiment"). Recently, I've been physically penetrating the surface of my paintings. This is possible since I am painting on cradled basswood panels. "No. 22" was painted first, then "Odalisque and the Virgins" a few weeks afterwards.

Pattern and repetition seemed to be a dominating element of theses paintings. In "Odalisque and the Virgins", I elevated the paint so it floated above the surface. You will recognize that this painting possesses the technique and energy of some of my past work if you focus on the surface layer. However, floating above a moving sea of abandonment are circular shapes of pure color. Twenty five different flat colors aligned in symmetrical geometric formation – casting shadows upon the expressive worn surface below.


Carey Corea, "Odalisque and the Virgins", 
Encaustic an Panel, 16"x16"



Carey Corea, "No. 22", 
Encaustic an Panel, 16"x16"

In painting "No. 22", holes are bored into the surface of the panel, filled with color. I am often asked how my paintings are created, so I thought I'll share a little bit about technique in this post. However, some questions that might be better asked are, "Am I moved?", "Does this speak to me?", "Can it carry on a conversation with me day after day?", "I'm I uplifted by viewing it?", "Does it possess meanings that are discoverable?", or "Is it a good investment?" No! just kidding about the last one.

I hope you like the paintings. I appreciate any of your comments. By the way, I just completed the first phase of my new website: careycorea.com please pay it a visit and tell me what you think.

Seeing RED

A few weeks ago, my wife and I attended the preview of "Red" at GeVa Theater in Rochester, NY. A wonderful one act play based on a fictional dialog between Mark Rothko and his young assistant. Brilliant! Go see it if you ever have the chance, you won't be sorry.

So with Rothko still bouncing around in my head, I came upon a New York Times article with the headline: "A Rothko Tops Sotheby's Contemporary Art Auction." A not very interesting 1954 Rothko, "Untitled (Yellow and Blue)" just sold for $46.45 million. Last year at this time, Rothko's "No. 21 (Red, Brown, Black and Orange)" sold for $45 million – a earlier work (1953) and a far superior painting. I mention these prices because Rothko suffered in poverty and was brutally criticized by art critics in his early years. The time frame of above mentioned play was around 1958. A period where Rothko had attained a level of financial success.


Mark Rothko, "Untitled (Yellow and Blue)" 1954


However, what really caught my eye was the auction of another abstract painting. Mark Bradford's "Smear" kick-started the auction. It fetched $4.4 million despite an upper estimate of $700,000. Wow! Big difference. Furthermore, this painting is brand new! It was dated this year (2015). Bradford is a young artist (by my standard) born in 1961. His work has always captivated me and seems to be rooted in an aesthetic and philosophy that resonates with my own. Here's his statement from the catalog:

"The conversations I was interested in were about community, fluidity, about a merchant dynamic, and the details that point to a genus of change. The species I use sometimes are racial, sexual, cultural, stereotypical. But the genus I’m always interested in is change." Mark Bradford


Mark Bradford, "Smear" 2015
Mixed Media and Collage on Canvas, 96"x72" 


How is an auction price of $4.4 million possible? I have no idea who purchased the painting. What is it that makes an artist's work suddenly valuable and desirable? What are people seeing or thinking?

In the play "Red," Rothko's bemoans the gap between his sensibilities and the public's vision. He yearns for an "empathic viewer" that connects with the multitude of hidden meanings/feelings that he has embedded in his color. He is shocked, bewildered and dismayed by the rise of the "Pop-Art" movement. He called these artists, "charlatans and young opportunists" and asks, "Are the young artists plotting to kill us all?" 

Well, Mark Bradford is a young artist that's not plotting to kill abstraction. In my opinion, he is one of the few artists that has decidedly climbed upon on the shoulders of giants of abstraction. And, I am thrilled that his work commands millions of dollars. Although it remains a mystery to me how it is possible.

If you are not familiar with Mark Bradford or his work – check it out.