Comparison of Evolutionary Trends Through Paint Mediums in European Art. Lauren Gamble and Mackenzie Vermillion LBC 145/290B

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1 Comparison of Evolutionary Trends Through Paint Mediums in European Art Lauren Gamble and Mackenzie Vermillion LBC 145/290B Dr. Joe Maleszewski and Prof. Katie Diller Due August 31, 2007

2 Abstract: In the city of Paris, France the research of the evolution of paint mediums was conducted, while considered different artists choice. Data was collect within various museums in the city, by touring and observing different paintings by European artists. These museums included Musée de Louvre, Musée d Orsay, Musée National Picasso, and Musée National D Art Modern. It was noted which era the paintings were constructed in and what medium was used in their creation, in each of the museums. Also, consideration from artists and paint supply stores was taken. Two trends were directly compared. The control group being the adaptation from tempra medium to oil, in comparison with the variable group, oil medium to acrylic. In both groups, the adaptation period was defined as the year the new paint medium was released through 57 years. This time period was chosen to keep the groups adaptation periods constant. After compiling the total number of tallies, ratios for each group was made allowing a direct comparison of the preceding medium to the proceeding medium. It was verified that both the control and variable groups are synonymous, showing the same trend of evolution, with the variable group showing a larger ratio. The ratio of the control group was found to be 2:1, while the variable group showed 3.1:1. From these results it was concluded that acrylic medium followed the same trend of evolution as oil medium, but oil medium is still prevalent today, as indicated from the larger ratio in the variable group.

3 Introduction History, in all cultures of the world, has a way of interconnecting people in their past, present, and future. History can be traced by evolution, a change over time. One commonalty among all the cultures of the world, art, is a form of history. History is created by the constant evolution of the world today. Art too is continually changing. As paint mediums evolve, artists choices grow. Not only is art evolving, but through this evolution it is creating connections. By tracing the evolution of art, a link between the history of art and science can be prepared. Cave painting is the most historic form of art, tracing back to 31,000 years ago (Anonymous-1, Unknown). Minerals, animal blood, and fat have been said to create different shades of red, yellow, and black (Anonymous-2, Unknown). Comparing the primitive art forms of the Cave paintings, to common materials used today, the art of paint has evolved. To achieve desired illustrations, artists developed new kinds of paint (Chom et al, 2006). Contrary to popular belief, it was not the source of pigments that changed but the mediums of the paint that were produced (Chom et al, 2006). Development continued in 400 AD when the second oldest known medium was created by the Greeks and Egyptians (Anonymous-1, Unknown). This medium, Tempera, derived from an egg base and was prevalent until oil based paints were introduced (Anonymous-1, Unknown). Once oil based paints were introduced in Europe in 1410 by Jan van Eyck (Dover Publications, 1967), they replaced the egg tempera and became the standard medium of the current time (Anonymous, Unknown). The oil based medium was produced from linseed, walnuts, and olives (Strannix, 2006). Oil based

4 paints offered immense benefits of durability and light fastness. This allowed works of art to outlast several centuries (Strannix, 2006). Even with this evolution the threat of degradation of these masterpieces still exists. From the combustion of fossil fuels, soot (fine, acidic, dust particles), is problematic to the longevity of paint (Salmon et al, 2000). Many museums, especially those found in historic buildings, cannot properly remove soot from the air (Chom et al, 2006). Many times the build up is extremely difficult or near impossible to remove (Salmon et al, 2000). It was not until the 1940 s that acrylic paints became commercially available, although they were invented in the 1930 s (McCabe, 2006). Shortly there after, in 1950, acrylic textiles were being manufactured (Alternative Plastics, 2007). Acrylic paint is a water based medium made with a material similar to plastic, called plastic resin (McCabe, 2006). Acrylic paints presented a wider range of uses and capabilities, and bond better to different surfaces (McCabe, 2006). Also, this medium dries much faster, in comparison to oil based paints, which can take weeks to completely dry (McCabe, 2006). Also unlike oil based paints, acrylic mediums do not turn yellow or crack as the image ages (McCabe, 2006). Since the invention of acrylic paint, critics argue its validity in comparison to oil paints. Acrylic paints are known to have a lower pigment range when compared to oil paints, while oil paints are said not to outlast weathering and aging as well as acrylic (McCabe, 2006). Acrylic paints have less of a pigment range because some pigments are custom only to oil paint (Saitzyk, 1987). This occurs because all of the unique qualities in oil paints, in a polymer medium, can not be seen (Saitzyk, 1987).

5 Data was collected by observing paintings in the most well known museums of Paris, France (Musée de Louvre, Musée d Orsay, Musée National Picasso, and Musée National D Art Modern in Centre Pompidou), in order to compare a pattern of the evolution of paint mediums, in two defined groups. This comparison of change in European art was helpful in determining if the evolutionary process of the paint mediums was followed. A comparison of the adaptation period of both oil and acrylic paint mediums was analyzed by the composed ratios of each group. It was hypothesized that the adaptation period of acrylic based mediums would follow the trend of the evolutionary process by paralleling the trend of the oil based medium s adaptation period. This would then help discover which medium, oil or acrylic, will become more prevalent near the end of 21 st century. Methods: While in Paris, France an outlined, weekly itinerary was followed. Included on this itinerary was a planned route of each of the following museums; Musée de Louvre, Musée d Orsay, Musée National Picasso, and Musée National D Art Modern in Centre Pompidou as well as their open hours. Musée de Louvre was located at Rue de Rivoli, 1er. Musée d Orsay was located at 1 rue de Bellechasse, 7 ème. Musée National Picasso was located at 5 rue Thorigny, 3 ème. Musée National D Art Modern in Centre Pompidou was located at Place Georges Pompidou, 4 ème. Also, a mapped route of the city of Paris, including transportation, was planned prior to each trip. Inside in each museum the paintings were observed, charted and possibly photographed. Documentation was kept of the paintings, in a chart for each museum

6 (Tables 1, 3, 4, 5). Each fell into categories distinguishing century and/or decade, as well as paint medium used. After counting the total number of paintings, the 1400 s were more closely analyzed. By breaking this century into decades and tallying them according to paint medium, the control group was established (Table 2). This group starts in 1410 and continues through 1467 establishing a tempera to oil paint medium ratio. Also, the 20 th century and the early 21 st century were more closely looked at. Just as the control group, the variable group was broken down into decades by tallying them according to paint mediums (Table 6). This group begins in 1950 and continues through The 57 year timeline was established to create an even window in both the control and variable groups. After establishing the adaptation periods for both groups, two ratios, one for the control and one for the variable group were found. This was done by counting the preceding versus proceeding paint mediums, within the adaptation period for each group. Results After visiting Musèe du Louvre on Rue de Rivoli 1er, all of the European paintings were tallied according to their paint medium, and the century they were started in (Table 1). The Louvre is home to 86 European paintings ranging from the 1430 s through the 1800 s, six of which were created with a tempera based paint medium and 80 with oil. It is home to the most famous painting in the world, the Mona Lisa (Kines, 2007). This oil on wood masterpiece was created by Leonardo Da Vinci adding to the sixteenth century tally (Figure 1). After counting the total number of paintings, the 1400 s were more closely analyzed. By breaking this century into decades and tallying

7 them according to paint medium, the control group was established (Table 2). This group starts in 1410 and continues through 1467 establishing a tempera to oil paint medium ratio, 2:1. This time period is considered oil s adaptation period. The paintings in Musée d Orsay, on 1 rue de Bellechasse, were tallied according to their paint medium, as well as the century they were started in (Table 3). This museum houses 358 paintings within 1800 s, five of which were made with a tempera based paint medium and 353 with oil. Forty two oil based paintings were created in the 1900 s, but before On its fifth floor the Raboteurs de parquets, the Floor-Scrapers, by Gustave Caillebotte was observed (Figure 2). Data was collected, but because it did not lie between or this museum did not contribute to either the control or the variable group. The European art found in Musée National Picasso on 5 rue Thorigny were counted and sorted according to paint medium and century of creation (Table 4). This museum contained only works of art from Pablo Picasso in the 1900 s, consisting of not only 113 wall décor but also a strange assortment of sculptures as well as a uniformly complex abode. Only the paintings were charted. Picasso s signature style of art was used in Femmes á la Toilette (Figure 3). The European paintings found in Musée National D Art Moderne, hidden on the fourth and fifth floors of Centre Pompidou were similarly eccentric. It s maze-like rooms currently tallied 261 paintings, 240 of which were created with a oil based paint medium and 21 with acrylic, organized according to paint medium and century (Table 5). This art display is regularly rotated to maintain it s modern title. Currently it displayed Femmeobjet by Peter Klasen (Figure 4).

8 The Musée National Picasso collection was combined with the Musée National D Art Moderne to be examined more closely. By breaking the 20 th century collection into decades and tallying them according to paint medium, the variable group was established (Table 6). This group begins in 1950 and continues through 2007 establishing an oil to acrylic paint medium ratio, 3.1:1. This time period is referred to as acrylic s adaptation period. The entire collection of European art was compiled together in a single table broken into centuries as well as paint mediums to more clearly display the data collected in the duration of the experiment (Table 7). Discussion History can be traced by evolution, a change over time. One commonalty among all the cultures of the world, art, is a form of history. History is created by the constant evolution of the world today. Art too is continually changing. While in Paris, France an observation of European art was conducted through out various museums in the city. Upon collecting and compiling the data, the following conclusions were made. After visiting Musèe du Louvre on Rue de Rivoli, 1er all of the European paintings were tallied according to their paint medium, and the century they were started in (Table 1). The Louvre is home to 86 European paintings ranging from the 1430 s through the 1800 s, six of which were created with a tempera based paint medium and 80 with oil. After counting the total number of paintings, the 1400 s were more closely analyzed. By breaking this century into decades and tallying them according to paint medium, the control group was established (Table 2).

9 This group starts in 1410 and continues through This time period is considered oil s adaptation period which is only a window of 57 years because of the establishment of acrylic paint through present time has only been 57 years, so in order to keep the groups synonymous the adaptation period was given this window. The tempera to oil ratio was found to be 2:1. This means for every two tempera paintings, there was one oil. This was from a total of 11 paintings, coming solely from Musée de Louvre. The smallest possible ratio would be 1:1, with the ratio of the control group being 2:1 it is relatively small. With this being such a small ratio this means oil s prevalence in this adaptation period was quickly established. The paintings in Musée d Orsay were collected as data, but because they did not lie between or this museum did not contribute to the control or the variable group s adaptation period, thus there was no contribution to either of the ratios. The Musée National Picasso collection was combined with the Musée National D Art Moderne to be examined more closely. By breaking the 20 th century collection into decades and tallying them according to paint medium, the variable group was established (Table 6). This group begins in 1950 and continues through 2007 establishing the oil to acrylic paint medium ratio, 3.1:1. In comparison to the control group s established ratio, 3.1:1 is larger. This means that for approximately every three oil based paintings, there is one acrylic. This shows that the same trend of adaptation is being followed, but at a slower rate. This supports our hypothesis because of the similar ratios of variable to the control. Since the ratio was larger in the variable group this supports the idea that oil based mediums were more prevalently used by artists in this adaptation period, in

10 comparison to the control group s adaptation period from tempera to oil. This could be because of oil s color diversity or possible price difference. After interviewing artists on the rue de Seine, a random artist was questioned. The preference in paint choice was due to color not the medium, the artist reported. Oil allows more layers while acrylic allows more texture. 1 Every artist that was interviewed had a different opinion, a different method to their art, and a different preference as to which paint medium they preferred. From this random sampling of artist interviews, it was concluded that choice of paint mediums is entirely up to the individual. After stopping by a small paint supply store located at 3 Rue des Beaux-Arts called Le Esquisse, we found that the cost of paint mediums could be a factor in an artist s choice. Acrylic cost 3.85! for 40 ml (0.096! per 1mL) while oil was 6.60! for 150mL (0.044! per 1mL.) Comparing the prices of the two paint mediums, acrylic is more than double the cost of oil paint. This could certainly be a possible explanation for an artist s choice in paint medium, as well as the longer adaptation to acrylic paint. After seeing the difference in ratios between the 57 year adaptation periods of oil (control) and acrylic (variable) paint mediums, the variable group supports the hypothesis by following the same pattern of the control group. Oil (preceding medium) showed prevalence over acrylic in the adaptation period. The difference being that ratio is larger in the variable group, as well as the sample size being larger. This also contributes to our margin of error. In the control group (Table 2) there is a total of 11 paintings while in the variable group (Table 6) there is a total of 86 paintings. If allowed more time both groups would be expanded. Although the realization has to be made, that accounting for all of Europe s art would be nearly 1 Andriya Andrea, Atelier Galerie, 53 Rue de Seine (interview).

11 impossible. In reference to era s of study, visiting museums based on appropriate content is much more beneficial than quantity. Also, if allowed more funds, this project would not have to be restricted to the museums only in Paris, France. Traveling to other European countries and viewing their museum s art collection would expand the power behind the data. With an increase in funds, other European countries artists, as well as paint supply stores, could be interviewed. The range of data could have been skewed because of the collection location. By waiting additional 50 years, the adaptation period will be lengthened to give acrylic more time to increase its prevalence. Acrylic paint is still a developing paint medium.

12 References: Alternative Plastics The History of Acrylic. last accessed 8/15/07 Anonymous-1. Unknown. History of Painting. oryid=ab20, last accessed 9/15/2006 Anonymous-2. Unknown. Making Paint. last accessed 9/15/2006 Anonymous-3, Olga s Gallery. last accessed 11/2/06. Dover Publications Materials for a History of Oil Painting. last accessed 8/15/07 Chom et al IR Spectrometry Indicates Higher Molecular Degradation in Organic Historical Paints After Exposure to Pollutants. Kines, Mark Tapio The Nine Most Famous Paintings in the World. last accessed 8/15/07 McCabe, Thomas J Acrylic Paints: Acrylic Paints are Fun, Inexpensive, and Easy to Use. Acrylic Paints are the Way to Go. last accessed 11/2/06. Microsoft Corporation Microsoft Office Excel 2003, Part of Microsoft Office Professional Edition Salmon et al A Study on the Human Ability to Detect Soot Deposition onto Works of Art. Environmental Science and Technology 34: Saitzyk, Steven Oil Paints Versus Other Painting Media. Art Hardware: The Definitive Guide to Artists. Smith et al LBS-144 Organismal Biology: Lecture/Lab Spring 2006 Course Packet. Strannix, T. Unknown. Oil Paint Basics: Artist s Studio Education. d=1, last accessed 9/15/2006

13 Figure 1. Monna Lisa by Léonard de Vinci. The Mona Lisa was observed at Musée du Louvre in 1er Rue de Rivoli. Leonardo DaVinci created this painting in Italy from He used an oil based medium on wood. The painting is 77x55cm.

14 Figure 2. Raboteurs de parquets by Gustave Caillebotte. The Floor-Scrapers was observed at Musée d Orsay in 1 rue de Bellechasse. Gustave Caillebotte created this painting in He used an oil based medium on canvas. The painting is 102x146.5cm.

15 Figure 3. Femmes á la Toilette by Pablo Picasso. Women at Their Toilette was observed at Musée National Picasso on 5 rue Thorigny. Pablo Picasso created this painting in He used an oil based medium on canvas.

16 Figure 4. Femme-objet by Peter Klasen. Woman object was observed at Musée National D Art Moderne, located incentre Pompidou, on 4ème Place Georges Pompidou. Peter Klasen created this painting in He used an acrylic based medium on canvas.

24 Appendix

Advanced Placement Studio Art Summer Assignments 2016

riggins@fultonschools.org Advanced Placement Studio Art Summer Assignments 2016 Please bring your artworks back to school in the Fall and be prepared to critique and discuss your work. Do not bring in