Diego Rivera's Revival of Encaustic Painting
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Expression and Sensibility. Art Technological Sources and the Rise of Modernism Christoph Krekel, Joyce H. Townsend, Sigrid EybGreen, Jo Kirby, Kathrin Pilz (eds) ISBN: 9781909492561 Binding: Paperback Dimensions: 297 x 210 Pages: 156 The period between 1850 and 1940 is characterised by completely new artistic ideas and concepts as well as the introduction of many new products such as tubes of oil, tempera-based paints, synthetic organic pigments etc. offered by artists’ colourmen, and industrial product ranges including metallic pigments. Some artists – often unfamiliar with the technical properties and qualities of ready-made products – reacted to these developments by introducing innovative artistic techniques while others reintroduced technical concepts that were considered obsolete by established institutions, or originated from non-European civilisations. There was a revival of interest in medieval and antique art technological sources, and German paint technologists in particular became involved with artists’ materials, their use and studies of their material properties. Diego Rivera’s revival of encaustic painting: the use of wax in Mexican avant-garde painting Sandra Zetina ABSTRACT In 1921 Diego Rivera travelled through Italy to study Renaissance, Byzantine and ancient Roman mural paint- ings and mosaics. Back in Mexico, he was commissioned by the Ministry of Education to paint murals on the walls of the National Preparatory School. Trying to recover some of the optical advantages and the aura of the encaustic technique, Rivera used this material to paint La Creación based on his study of the colour used in Eugène Delacroix’s paintings in Saint Sulpice, Paris. Likewise, Gerardo Murillo, better known as ‘Dr Atl’, created a type of solid oil crayon, the Atl-colours, which were made from a mixture of waxes and resins similar to those used for the encaustic technique. This paper discusses ideas on the encaustic technique found in the manuals and treatises used by Diego Rivera: the pharmacist A.M. Duroziez (1838), Jacques-Nicolas Paillot de Montabert (1829), the treatise written by Rivera and Juan O’Gorman, Sobre la encáustica y el fresco (1951), and notes in periodicals and contemporary art criticism. This research explores the manufacture and experi- mentation with mixtures of wax, resins and oil in a selection of mural paintings executed during the first decades of the 20th century. The leading encaustic practices by Rivera are compared with the use of this medium in murals of other Mexican avant-garde artists. The interest in the revival of the techniques of antiquity prompted a reinterpretation of Mexican pre- Hispanic paint media and charged some materials with symbolic connotations. For instance, the use of copal in encaustic and Atl-colour crayons was referred to as a Mexican contribution to the technique. The Mexican return to craftsmanship: from academia to and the reception of the murals by artists and laypeople, avant-garde particularly the impact on contemporary painters. The Mexican mural movement emerged from the In 1922, Diego Rivera (1886‒1957) declared that he had ambitious cultural and educational programme that José recovered the original encaustic technique ‘for the first time Vasconcelos (1882‒1959), prominent philosopher and since antiquity’ (del Sena 1922; Ortega 1923). At the National minister of education in Mexico, designed with the aim of Preparatory School he was finishing his first mural, La boosting literacy in a massive population. At the same time, Creación (The Creation), a painting that would become the Vasconcelos encouraged the cultivation and diffusion of the point of departure of the mural movement. This ‘revival’ of the arts in general by launching unprecedented initiatives in encaustic medium generated immediate enthusiasm among publishing and the visual and performing arts that reached the group of younger avant-garde painters who subsequently all regions of the country. This unique Mexican post- produced encaustic murals: Jean Charlot (1898‒1979), revolutionary cultural project spearheaded by Vasconcelos Fermín Revueltas (1901‒1935), Fernando Leal (1901‒1935) was in large part inspired by the programme developed in and David Alfaro Siqueiros (1896‒1974). Although use of the the USSR by Anatoly Lunacharsky (1875‒1933) (Fell 2009). encaustic technique proved to be only a short-term phen- Young artists were part of the revolutionary cultural move- omenon among the Mexican avant-garde, many of the artists ment: their search for a utopian art led them to create works involved in this intense experiment learned how to paint that integrated classical and local styles, incorporating shapes with raw materials, rediscovered or reinvented ancient tech- and subjects that appealed to the working class. The artistic niques, and in general engaged with new painting methods in medium became especially relevant. Among other artistic a similar fashion to the Italian ritorno al mestiere (return to media, such as prints or books, artists privileged mural order) (de Chirico 1919; Vacanti 2006). painting because it was conceptualised as a revolutionary This research aims to clarify Rivera’s interest in the medium that could reach huge illiterate audiences and thus encaustic medium, the written sources that he used, as well attain collective appreciation, in contrast to easel painting as research and development of this painting technique in which was destined for individual reception in bourgeois Mexico. It focuses on the selection of encaustic by Rivera as domestic spaces. Thus, intellectuals and artists aspired well as the connotations that he attributed to the medium. It to reach a popular audience with the aim of constructing also examines some of his sources and intentions, the conse- revolutionary images. Murals as an artistic medium offered quences of the use of encaustic for the images he produced, possibilities of monumentality that suited the expectations 58 DIEGO RIVERA’S REVIVAL OF ENCAUSTIC PAINTING: THE USE OF WAX IN MEXICAN AVANT-GARDE PAINTING Figure 1 Diego Rivera, La Creación (The Creation), 1922‒1923, gold and encaustic over concrete, 7.08 × 12.19 m (90 m2), Anfiteatro Simón Bolívar, Antiguo Colegio de San Ildefonso, Mexico City. (Photo © Bob Schalkwijk/© Banco de México Diego Rivera and Frida Kahlo Museums Trust/Artists Rights Society) of the new country, and also promised material permanence La Creación: wax from antiquity, indigenous tones and and unlimited didactic potential. Charlot defined the expe- constructivist composition rience of participating in the mural cycle at the National Preparatory School as if he had ‘assisted at the birth of a Rivera began the encaustic mural around the early part of 1922 national style’, comparing that moment with the ‘birth of a and it was inaugurated in March 1923. He carefully projected volcano’ (Charlot 1967: vii). La Creación (Fig. 1) to produce an avant-garde classicism in The process of creating the very first murals was challeng- which the medium and the facture actively participate in the ing and problematic: artists were not trained in mural painting image: the wax medium and the gold leaf create a celestial techniques and a heated debate surrounded the subject. At atmosphere that contrasts with the ‘constructivist’ composi- the turn of the century, Mexican painters had received little tion in the style of Cézanne, the volumes built upon a mingling education on materials and processes; prefabricated com- of Cubist strategies and the geometry of the golden ratio. The mercial artistic materials had entered the market several constructivist composition appears as if built on rock, as a decades before and few artists were interested in preparing result of the aesthetic and technical decision to chisel round their own materials. all the contours. Rivera explained that he adopted an incised Both Rivera’s peers as well as younger artists who had method for drawing ‘firstly, to prevent the colours from drip- studied at the Mexican Academy had scant knowledge ping, and secondly, because the incised drawing has a more regarding the grinding of pigments and preparation of architectural character than the traced drawing’1 (del Sena mediums – they were trained in easel painting using com- 1922: 47); thus, it is a method aimed at emphasising geometric mercially prepared materials. Moreover, these artists did not design and the materiality of the encaustic medium. have the technical knowledge required for mural painting Rivera accomplished a composition with traces of Cubism, and many lacked craftsmanship. As a result, having been but at the same time it evokes the classical design and the given mural commissions, painters put all their creativity surface quality of Byzantine mosaics. The gigantic figures and intelligence into learning, inventing and reinterpreting deploy a classic iconography: Adam and Eve are found on mural painting techniques through research and gruel- the ground, the lowest level of creation, and are in dialogue ling trial and error that gave them experience in grinding with the nine muses that are still in the earthly realm; floating pigments, melting materials, producing different types of on a cloud are the seven virtues. All the allegorical figures mortar, and appreciating surface effects acquired as traces frame the primal energy, a blue cosmic sphere with golden of the processes. It is not surprising, therefore, that these stars and a rainbow, deployed in the manner of the Byzantine murals have a particularly experimental