ART HIST 1AO3: Some additional notes on wall painting and reductive sculptural techniques

As we look at the cave paintings from Lascaux we will consider some of the possible techniques adopted by the people who made these images. There is still much speculation about the methods used. Here is an interesting online source which offers some useful insight with respect to the materials, tools and techniques employed:

How to Paint a Mammoth

Pigments are the finely-ground materials used to provide colour in a visual work. Paleolithic painters would have used organic (naturally-sourced) materials such as iron oxide (for red, yellow and orange), charcoal (for 'black') and chalk (for white).

Over the centuries the range of pigments adopted in art has expanded considerably and today, artists have access to both organic and synthetic colours. While many are moderately priced some, such as lapis lazuli, can be extremely expensive. Others, for various reasons (including the questionable ethics of sourcing and availability) can no longer be found. An example would be 'mummy brown'. The name of the pigment alone should provide a clue as to why it's no longer available!!

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Our discussion will also introduce some issues relating to sculptural techniques. Generally, traditional sculptural techniques are divided into two categories; there are those works created through reductive methods and those produced through additive methods. The former refers to methods by which the sculptor removes material to produce the desired shape, while the latter refers to techniques by which the sculptor 'builds up' the form. Thus, while stone or wood carving would be considered reductive methods, clay modelling or casting techniques would be considered additive.

When making formal observations about a sculptural work it is important to consider why the method was used and how the process might be relevant to the meaning of the work.

Image source: solution.ecovillage.org