History
This technique was notably used in the Fayum mummy portraits from Egypt around 100-300 AD, in the Blachernitissa and other early icons, as well as in many works of 20th-century North American artists, including Jasper Johns, Tony Scherman, and Fernando Leal Audirac. Kut-kut, a lost art of the Philippines, implements sgraffito and encaustic techniques. It was practiced by the indigenous tribe of Samar island around 1600 to 1800. Artists in the Mexican muralism movement, such as Diego Rivera and Jean Charlot sometimes used encaustic painting.
In the 20th century, painter Fritz Faiss (1905–1981), a student of Paul Klee and Wassily Kandinsky at the Bauhaus, together with Dr. Hans Schmid, rediscovered the so-called "Punic wax" technique of encaustic painting. Faiss held two German patents related to the preparation of waxes for encaustic painting. One covered a method for treating beeswax so that its melting point was raised from 60 degrees Celsius to 100 degrees Celsius (from 140 °F to 212 °F). This occurred after boiling the wax in a solution of sea water and soda three successive times. The resulting harder wax is the same as the Punic wax referred to in ancient Greek writings on encaustic painting.
Encaustic art has seen a resurgence in popularity since the 1990s with people using electric irons, hotplates and heated stylus on different surfaces including card, paper and even pottery. The iron makes producing a variety of artistic patterns elementary. The medium is not limited to just simple designs; it can be used to create complex paintings, just as in other media such as oil and acrylic.
Read more about this topic: Encaustic Painting
Famous quotes containing the word history:
“Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.”
—Bertolt Brecht (1898–1956)
“Perhaps universal history is the history of the diverse intonation of some metaphors.”
—Jorge Luis Borges (1899–1986)
“For a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.”
—F. Scott Fitzgerald (1896–1940)