History
Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.
Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (small scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, botanical and wildlife illustrations are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings.
Read more about this topic: Watercolor Painting
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“Hence poetry is something more philosophic and of graver import than history, since its statements are rather of the nature of universals, whereas those of history are singulars.”
—Aristotle (384–322 B.C.)
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—Eugène Ionesco (b. 1912)
“When the coherence of the parts of a stone, or even that composition of parts which renders it extended; when these familiar objects, I say, are so inexplicable, and contain circumstances so repugnant and contradictory; with what assurance can we decide concerning the origin of worlds, or trace their history from eternity to eternity?”
—David Hume (1711–1776)