Understanding acrylic in the origins of painting
The history of painting is also the history of the evolution of technique. Any artist knows that the basis of his work is the knowledge and mastery of technique. From the first natural pigments applied with brushes made with horsehair or feathers in the paintings of quaternary art to the modern paintings there is an abyss. Or not so much. Note that the shape of the brush has not changed one iota from the Paleolithic to the present day. The colors, on the other hand, were extracted from crushed stones until they formed an earth. Black, for example – the first color in the history of art, by the way – was extracted from charcoal or manganese. The red and the ochers that we enjoy in caves such as Altamira were made with iron oxides from crushed clays. The resulting powder was not enough and soon they discovered that in order to paint they needed a more liquid texture. This is what is known as pictorial film. That’s why they add some binders that can be egg white, blood, fish glue, resins… And finally everything is crushed. And there you have them. Paintings in caves, but also in shelters at the mercy of the weather, visible to our eyes thousands of years later.
Painting in early civilizations
After the long stage of megalithism where painting disappears in favor of these large blocks of stone, it will reappear in the first civilizations. How far is the true magnificence of the Egyptian temples or the acropolis of Athens from what we contemplate today! It is hard to imagine a Parthenon painted in vivid colors. And yet it was. The chronicles tell us that this colossal architecture was painted in red (for the backgrounds of the metopes), blue (in the triglyphs) and gold and black (in the grooves of the columns). Romans but, above all, the men of the Renaissance dedicated themselves to eliminate any trace of polychrome of Greek culture. A sacrilege, because the Greeks painted everything. I am not only referring to walls, but also to buildings and even sculptures. The charioteer of Delphi, taken from the sea and therefore safe from being melted down like cannonballs, is a bronze sculpture that still retains even the false eyelashes. Bronze, the most common material for Greek statuary, was hidden under a layer of wax that simulated human skin and then painted. Can you imagine the effect of walking through the impressive acropolis of Athens designed by the great Phidias and seeing all that range of colors on buildings, walls and sculptures? Of course, they had a precedent in rich Crete and its famous palaces. Knossos preserves some of the finest examples of Minoan painting.
Even before the Hellenic culture there were the Egyptians. This civilization born on the banks of the Nile also decorated temples and tombs with bright, flat colors. Both used the techniques of fresco, tempera and encaustic. Nor should we forget another early civilization that also arose on the rising riverbanks. The Tigris and Euphrates was the cradle of the Mesopotamian culture. That of Hammurabi’s code of an eye for an eye and a tooth for a tooth. But also the one that used tempera painting for decorative purposes to embellish the architecture. Its palette is less varied than that of the Egyptians and is limited to whites, reds and blues.
Classic painting techniques
These three techniques; fresco, tempera and encaustic will be practically the reigning techniques during the long period of the Middle Ages with the Romanesque and Gothic periods at the head. Tempera painting is usually dissolved in water and uses egg yolk, vegetable gum or casein as a binder. It is a technique widely used in medieval painting, even in the early Renaissance. Its advocates claim a result of bright colors with a layer that is usually hard and resistant.
The coolness
Fresco is, on the other hand, the most common form of mural painting. The most famous fresco painting of all times is the ceiling of the Sistine Chapel that Michelangelo painted for Pope Julius II almost against his will. How grateful we should be to this Pope who managed to convince the Divine to conceive one of the most outstanding examples in the history of painting. After a complete restoration (decade of the 80’s and 90’s of the 20th century) that managed to remove the layers of dirt and the smoke of the candles, we discovered a color that even today continues to move us. And is that the fresco technique achieves a durability over time that makes them look freshly painted. Its particularity is that it is not applied directly on the wall, but on a plaster of wet lime. The pigments also dissolve in water and penetrate the lime mortar. Hence we speak of days, since it can only be painted while this preparation is wet. These are the advantages, but it also has disadvantages. The most important is that it does not admit rectifications. If the painter makes a mistake, the mortar has to be chipped off and started again. That is why false fresco also emerged. Not all painters are Michelangelo. Although the first civilizations already used fresco, it is in Byzantium, the Romanesque, Gothic, Renaissance and Baroque -especially with the illusionist baroque of Father Pozzo- its most flourishing stages. Of course, the last third of the 18th century has an outstanding chapter in the incredible frescoes of San Antonio de la Florida painted by Goya in his famous awakening of conscience.
Encaustics
The third technique mentioned, encaustic, requires heat. The colors are diluted in molten wax and applied hot. Greece was its cradle. The mixture is dense and creamy. The Romans used it frequently, especially on boards. During the Middle Ages and the 18th and 19th centuries, it made a strong comeback, gaining in popularity. Its main attraction is its vibrant colors, as well as its transparent qualities and great durability. It is curious the phenomenon experienced by encaustic during the twentieth century. Many modern artists have fallen in love with this technique, using it pure or mixing it with mixed techniques. One of the most famous was the Mexican muralist Diego Rivera, along with Jasper Johns or Lynda Benglis.
The oil revolution
Any of these techniques has its roots in the earliest times. However, the 15th century witnessed a real revolution. When oil painting appeared, it was a real earthquake for painting. Although he was not its inventor, we owe to the Flemish painter Jan Van Eyck the fame of popularizing this technique. Who does not know the painting of the Arnolfini couple? The little dog at the feet of the couple is a display of detail. It seems to be painted hair by hair. Such meticulousness could not be given by any pictorial technique known up to that time. From then on, oil painting became the European technique par excellence. The keys to oil painting are that it uses vegetable resin and oil (mainly linseed or walnut oil) as binders. As it does not use water, its drying time is much slower than that of other techniques. The versatility of oil painting is infinite. It allows the painter to apply such thin layers that they seem almost transparent – it is the golden age of glazes! But at the same time you can apply a great material load whose thickness gives you relief. Oil painting is applied on canvas or board. The key to understand why artists began to use oil painting is because of its bright colors and, above all, the possibility of rectifying, since you can superimpose brushstrokes without altering the work. Well, that is until the advent of X-rays. The regrets of Velázquez or other artists that modern techniques have brought to light are famous.
Beware that this story is not a succession of successes. And if not remember The Last Supper by Leonardo da Vinci, a failed attempt of tempera and oil on dry plaster. An incorrect mixture and the heat of the kitchens caused the deterioration of the pictorial layer of one of the most famous paintings in the history of art.
Acrylic: the modern technique
One last chapter remains to be mentioned. When it seemed that no one could dethrone oil painting, acrylic came along. It was the beginning of the 20th century and the Vanguards had put traditional painting in check. A cry for freedom was heard from different places, first in old Europe and later in the USA. It is not strange that a technique contrary to academicism was born. Acrylic and oil were present and past. Acrylic is mixed with water and oil with oil. That is why a golden rule is that acrylic can never be on top of oil. Also, their textures are different. Acrylic is more enamel. The finish can be matte or glossy. Let’s not forget either that acrylic has latex. Yes, it can be combined with other techniques such as tempera or watercolor. A weakness? Its recent discovery means that we do not yet know exactly how long it will last and whether it will crack in the future.
The fundamental advantage of acrylic is the speed of drying. Another of its strengths is its expressive possibilities when it comes to abstract work. Elements such as the characteristic drips or the application of spray paint have acrylic as their best companion. This versatility has been a magnet for experimental and avant-garde artists. Think of American abstract expressionism: could Jackson Pollock have created his famous drippings without the fluidity and fast drying of acrylic? Impossible.
What is the origin of acrylic paint?
Acrylic was born from the hand of modern chemistry. In 1934, the German chemical company BASF created the first acrylic polymer dispersion. But it was not until the 1950s that painters began to seriously explore its artistic potential. Names such as Morris Louis and Helen Frankenthaler pioneered their use, discovering that they could create color effects impossible with oil paint.
Benefits of using acrylic
The acrylic palette is infinite. Synthetic pigments allow for vibrant, saturated colors that oil can only dream of. In addition, its opacity or transparency can be easily controlled by thinning the paint with water or acrylic medium. Want texture? Acrylic offers them all. From thin layers like watercolor to thick impasto that rivals the densest oil paint. And let’s not forget its ability to incorporate non-painting materials. Sand, paper, canvas… acrylic traps them all in its polymeric matrix.
But acrylic is not just for abstractionists and experimentalists. Hyperrealists like Chuck Close have demonstrated that it can achieve an amazing level of detail. Its fast drying time allows you to work in successive layers without waiting days or weeks. A canvas can be completed in hours, not months.
Acrylic has also democratized painting. It is cheaper than oil, easier to use and to clean. It does not require toxic solvents and does not produce strong odors. This has made it a favorite of art schools and workshops. Generations of amateur and professional artists have trained with acrylic as their primary medium.
Disadvantages of using acrylic paint
What about its disadvantages? In addition to uncertainty about its long-term durability, some painters complain that it is too “plastic” in appearance. Others miss the depth and richness of oil colors. And its fast drying time, while advantageous in many respects, can be frustrating for those who prefer to work wet-on-wet for long periods.
But these criticisms have not slowed its progress. Acrylic continues to evolve. New formulas seek to imitate the texture and sheen of oil paints. Other developments point to environmentally friendly, plastic-free and fully biodegradable acrylic paints. The future of acrylic, like that of all painting, is yet to be written. But one thing is certain: this modern technique has earned its place on the palette of art history.
The use of acrylic in Maseda’s work
It is not surprising then that artists like Maseda have opted for acrylic. The gestural stroke painting and echoes of street art of the artist from Castellón mean that his brushstrokes require a technique such as acrylic. Those drips that abstract expressionism with geniuses like Jackson Pollock raised to the altars are an essential part of Maseda’s work. Acrylic and action painting seem to be one and the same thing. When Maseda applies the spray with his inseparable fuchsia tone, he also looks for the watery effect of the drip. It is true that Maseda likes to combine techniques. Generally, his winning trident is acrylic, spray and marker. But always acrylic. Maseda’s rhythm, passion and fury, together with his fast brushstroke, make Maseda a faithful acrylic follower.
But make no mistake. This is not the end of the story. Writing has also gone from clay tablets, to papyrus, to paper, to computer keys. And it is still alive. Painting will continue to incorporate new techniques, adding new methods and materials. Artificial intelligence may discover a world that we can barely dream of now. Isn’t Maseda’ s photoluminescent painting another step in this story?
Comisaria independiente, crítica de arte y profesora en la Universitat Jaume I de Castelló. Compagina la docencia e investigación en el campo de las artes con el periodismo cultural a través de colaboraciones con medios como la SER o el periódico El Mundo.
