R&F Handmade Paints

One of the great things about our visiting artist workshop program is the opportunity to acquaint other artists with unique approaches to encaustic painting.

Francisco Benitez, from Santa Fe, taught a class on encaustic portraiture June 2nd thru 4th here at R&F.  Switching from oils to encaustics a number of years ago prompted him to pursue his long time fascination with the encaustic Fayum funeral portraits of ancient Egypt and explore the techniques that produced them.

Using metal tools and heated tips that he had designed to duplicate the ancient bronze spatulas used by the Fayum painters, Francisco demonstrated how direct manipulation of the encaustic can create very controlled and at the same time rich impressionistic effects. This is largely due to the sensitive flexibility that give the tools the feel of being an extension of the fingers. These tools, by the way, are being manufactured for R&F by Sculpture House, and will be available in August.

Another feature of Francisco’s technique is the recreation of the four-color palette. Developed around the 5th century BC, the four color system, known as tetrachromy, utilizes black, white, red ochre, and yellow ochre (equivalent to mars red and yellow). When skillfully mixed, they can create a full color range that is both harmonious and elegant in its economy of color.  Following the Greek tradition of portraiture, the painting is begun on a dark ground and the layers of color progress from dark to light in a process that is like bringing the face from out of the shadows.

Compare Benitez’ method in one of his demonstration pieces below with a Fayum portrait from the 1st Century AD.

Portrait created during workshop by Francisco Benitez

Fayum Portrait, circa 100 AD

In conjunction with Francisco’s workshop he also has a solo exhibition at R&F entitled Ancient Voices through Modern Eyes: Encaustic Figurative Paintings by Francisco Benitez on view through July 24th, 2010.

Not too many years ago, Francisco Benitez , an artist who divides his time between Santa Fe and Europe, turned from oil painting to encaustic. What made his switch in mediums unique was his extensive background in Classical Greek art and literature. The combination of interests led him to emulate the painting techniques and color palette of the "enkaustai," the Greek encaustic painters of the Fayum funeral portraits. He has since given encaustic presentations in collaboration with Euphrosyne Doxiadis, the author of The Mysterious Fayum Portraits .

Benitez recently visited us at R&F and gave a demonstration of his working method. He applies the paint with a brush, but models, blends, and fuses the paint with our heated horn in the manner of the Greek painters using heated bronze spatulas. This gives markings in the paint similar to those we see in the Fayum portraits. His color palette is based on the "austere" tradition, known as tetrachromy. The Greek painters of that school relied on the use of only four colors: white (either lead or chalk), black (a very bluish black from charred vines), yellow ochre, and red ochre. From these four colors the entire spectrum was mixed. It is a rigid discipline, but the economy of color produces a beautiful harmony.

Below is a detail of the quick sketch Benitez did showing the marks made with the heated horn along side the marks in a Fayum portrait.

Fayum "Jewelry Girl" next to a sketch by Benitez

Hi everyone,

I just want to let everyone in the Santa Fe area know that Euphrosyne Doxiadis, who wrote The Mysterious Fayum Portraits will be giving a lecture on October 29, 3:15pm at St. John’s College, 1160 Camino Cruz Blanca, Junior Commons Room.

Prior to that, on October 28, she will be giving  a demonstration of encaustic technique at Artisan Santa Fe, 2601 Cerrillos Road.

Doxiadis’ book on the Fayum portraits is unfortunately out of print. Unfortunate, because it is indispensible to anyone wanting a glimpse at the techniques and materials of the painters, and the social/historical context within which they flourished for an all too brief a time. The reproductions in the book are stunningly beautiful, and the text is sound scholarship. If you find a used copy in any decent condition, grab it.

Doxiadis is also a painter, working in the encaustic medium she knows so well. It’s highly unusual to see someone who has bridged the two worlds of scholarship and practice. I know, from my own correspondence with her, that she is very engaging and passionate about her twin fields.