Victoria Charles - 1000 Watercolours of Genius
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Victoria Charles
1000
Watercolours
of Genius
Authors:
Victoria Charles
Klaus H. Carl
Layout :
Baseline Co. Ltd
H Chi Minh City, Vietnam
2016 Confidential Concepts, worldwide, USA
2016 Parkstone Press International, New York, USA
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No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification.
ISBN: 978-1-68325-449-2
Table of Contents
I s watercolour the oldest painting technique in world history? Be it in the caves of Lascaux or the ancient petroglyphs in Egypt and Greece, colour pigment mixed in water was always found. In the Middle Ages, the book painters used water-thinned colours to illustrate manuscripts. Each miniature on vellum paper in more or less opaque colours formed the origin of modern watercolour which we know today.
The Renaissance painters used watercolour for studies and modelli. Leonardo da Vinci (1452-1519), for example, produced a considerable number of drawings on which he used various techniques and complementary mediums, including watercolour, which served to better bring out his drawn lines. Towards the end of the 15 th century, with Albrecht Drer (1471-1528) came the first widely recognised artist in appearance who fully committed himself to watercolour: He created around one hundred of them, which made him the first established watercolourist in art history. Later, it was the genre artists of landscape painting who appropriated the watercolour technique and recognised the advantages that the technique had in respect to the presentation of light effect.
Despite it all, it was a long road until watercolour paintings were considered a true, independent art form. In its history, it was always subject to the current tastes and the technical achievements of the the respective epoch. Partly discredited, partly thrust into obscurity, watercolour first received a definition, in the strict sense, at the end of the 18 th century. For a long time it appeared as a foundationless art form because, conceptually, it was ill-defined. Watercolour paintings were considered scattered, a pasttime, an amateurish art. In fact, the existence of watercolours was rarely mentioned in texts before the 19 th century, or the concepts were, to some degree, arbitrarily used: Even in 1757, none other than Denis Dierot (1713-1784) used the word gouache incorrectly.
Even when the technique itself, especially when compared to oil painting, was subjected to the opinion of less worthy, artists were still never tired of working with it and perfecting it. Drer received more fame for his works in oil, and his etchings and wood cuttings, which were commissioned. Even so, he still busied himself equally with watercolour as much as he could in order to express himself more freely and spontaneously. In France, the watercolourists were permitted into the Acadmie Royale de Peinture et de Sculpture in the last decade of the 18 th century under Louis XVI. Some years later in England, in 1804, the founding of the Society of Painters in Water Colours created recognition of watercolour as an official, independent art form.
The Seach for a Definition of Watercolours.
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