Vimala O'Brien's Page

"Ploughed Field with Purple Sky"
Beeswax and Resin Encaustic on Board
SOLD

History Of Encaustic Painting

Encaustic painting was practiced by Greek artists as far back as the 5th century B.C. Most of our knowledge of this early use comes from the Roman historian Pliny, who wrote in the 1st century A.D. Pliny seems to have had little direct knowledge about studio methods, so his account of techniques and materials is sketchy. But his discussion gives us an idea of its general usage. According to Pliny, encaustic had a variety of applications: for the painting of portraits and scenes of mythology on panels, for the coloring of marble and terra cotta, and for work on ivory (probably the tinting of incised lines).
Wax is an excellent preservative of materials. It was partly from this use that the art of encaustic painting developed. The Greeks applied coatings of wax and resin to weatherproof their ships. Pigmenting the wax gave rise to the decorating of warships. Mention is even made by Homer of the painted ships of the Greek warriors who fought at Troy.
The use of a rudimentary encaustic was therefore an ancient practice by the 5th century B.C. 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 led to its 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 the Archeological Museum of 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 through 3rd 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. These are the only surviving encaustic works from ancient times. It is notable how fresh the color has remained due to the protection of the wax.
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 re-examined, initially by amateurs in order 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. But the success of these efforts was limited, and encaustic remained an obscure art form.
The 20th Century has seen a rebirth of encaustic on a major scale. It is an irony of our modern age, with its emphasis on advanced technology, that a painting technique as ancient and involved as encaustic should receive such widespread interest.
Earlier attempts to revive encaustic failed to solve the one problem that had made painting in encaustic so laborious — the melting of the wax. The availability of portable electric heating implements and the variety of tools made the use of encaustic more accessible.
The fact that wax required no drying time and that it had structural properties that allowed it to be textured and built up in relief enticed both painters and sculptors to employ encaustic in both traditional technique and the development of newer.... (adding to 20th Cent. stylistic developments)
Early 20th Century ventures into encaustic included Robert Delaunay and Antoine Pevsner. Diego Rivera returned to it constantly throughout his career.
Found on
R & F Handmade Paints

"Husk & Flesh"

Beeswax and Resin Encaustic on Board

182cm x 91cm