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Three centuries pass, and half a world away, on an entirely new continent, the watercolor of fresco surfaces yet again, some 500 years before the arrival of Old World influence. In what we know today as Central America, watercolor is rendered on the same wet plaster technique as in ancient Egypt, in the city of Teotihuacan. Founded in 300 BC, just northeast of present-day Mexico City, this bustling metropolis has already thrived for 1200 years as the largest pre-Columbian city in the Americas. With a population of a quarter million and an area larger than ancient Rome, it sports highly intricate murals, portraying stylistic gods, goddesses, and mortal humans. Elsewhere, far from Mayan territory, but still in the Mexican highlands lies Cacaxtla, another site adorned in fresco and discovered in 1975. Realistic warriors and vicious battle scenes come to life in living colour, all edged with decorative motifs, curiously marine in nature. Sea urchins, crabs and sea turtles, all painted high and dry, far from any ocean's shores. By far the most famous however, are the paintings of Bonampak (Mayan for 'painted walls') a Mayan city state which flourishes in the 9th century. Discovered in the forests of present day Chiapas in 1946, a series of murals unfold on the walls and vaulted ceilings of the long stone building that was once a temple. Here, in three separate chambers, the strong vibrant colours of New World frescos are still undimmed by a thousand years of neglect, the inhabitants love of beads, ornaments, jewelry, and bright clothing, all documented. Along with Mayan palace life and the upper ruling class. And a desperate hand-to-hand battle with an invading tribe, dated by the Mayan calendar to the precise date of August 2nd, 792. Remarkably preserved for 11OO years despite Mexican humidity, these frescos are quite unlike ones painted in drier climes. In the inherently humid climate of Bonampak, local artists, unlike those in desiccated Egypt, enjoyed ample time to complete their works, with as long as several days of creativity available before the plaster dried.
Website, text & original watercolors © copyright 1999, 2000 James Smith, All
Rights Reserved
 Mayan Fresco Mural (detail) Bonampak, Mexico |
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More Coming Soon...The Watercolor Epic: A Universal Language PART II continues by:Following the universal language of watercolor from 900 AD all the way to the present era, covering the four major chapters in its history as they appear, over the last millennium.
ILLUMINATING THE DARKNESSFrom the 10th century onwards, manuscript illumination becomes the primary tool of human expression as the earliest forms of illustrated books begin their appearance, worldwide. Beginning first in the far east, and surfacing in Europe in AD 950 as the Dark Ages end, the manuscripts are hand written on vellum, parchment and early forms of paper and flourishes into the 14th century.In China and Japan silk or paper scroll paintings are being produced - often animated and satirical in nature - to accompany written text, with 12th century The Tales of Gengi by Murasaki Shikibu perhaps the most famous of all. In Mexico, the Maya are illustrating their books, known as codices, on bark paper or deerskin.
ARTISTS:Mathew ParisLi Lung-mein Li T'ang THE RENAISSANCE: FRESCO REBORNThe fresco is reaffirmed as the number one artistic medium in Renaissance Europe. Unopposed as yet by oil painting, it becomes a favorite for some of the world's greatest masters, who produce prodigious numbers of frescoes, most of which still survive magnificently today, 600 years later. Various forms of Tempera painting are introduced.
ARTISTS & THEIR WORKS:Sandro Botticelli: La Primavera ['Spring'] (1470)Leonardo da Vinci: The Last Supper (1497) Michelangelo: Delphic Sibyl Fresco, Sistine Chapel, the Vatican, Rome (1508) Raphael: The School of Athens, Vatican (1511)
EXPERIMENTS ON PAPER: EUROPEAN BEGINNINGSWatercolor makes its successful transition to paper in 15th century Europe, with the early applications used by Albrecht Durer in Germany. He shows how detailed watercolor sketches and even landscapes can stand on their own, apart from oils.Later, in 18th century England, Richard Wilson pioneers the use of the medium in the English Landscape.
ARTISTS AND THEIR WORKS:Albrecht Durer: The Great Piece of Turf (1503)Tao Chi: Flowers, from a 12-page Album (1680) Thomas Girtin: The White house, Chelsea Thomas Gainsborough: Wooded Landscape with Waggon in a Glade (1765)
THE GREAT AGE OF WATERCOLOURThe word WATERCOLOR, in use for thousands of years, has managed to become synonymous with one particular era, one particular place in time: the heroic landscapes and sweeping pastoral scenes of 18th and 19th century England.Artists the like of John Sell Cotman, Thomas and Paul Sandby, and JMW Turner - and many of their contemporaries - were now able to employ the singing tones of watercolor in capturing atmospheric light and vibrancy, the very essence of English landscapes. An accomplishment which turned quite ordinary panoramas into romantic, almost magical visions.
ARTISTS AND THEIR WORKS:JMW Turner: Norham castle (1830)John Constable: Salisbury Cathedral (1829) David Cox John James Audubon: Carolina Parakeet (1825) Queen Victoria: Scottish Scene Hiroshige: Yui: Satta Peak (1849) I hope you liked reading this Watercolor Epic as much I did writing it.Originally intended to cover a few paragraphs and a few hours of my time, it soon took on epic proportions of its own, filling much of 3 mid-winter weeks as I researched and wrote my way through 33,000 fascinating years of art. And that's one sure-fire way to learn about history! If you've enjoyed reading it, or found it useful as a research tool, please let me know: jnresrch@mailcity.com.
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Website, text & original watercolors © copyright 1997 - 2006 James Smith, All
Rights Reserved
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