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Pearls from artists* # 494

Shamans, Tiwanaku, Bolivia

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Emile Cartailhac was a man who could admit when he was wrong. This was fortunate, because in 1902 the French prehistorian found himself writing an article for L’Anthropolgie in which he did just that. In “Mea culpa d’un sceptique” he recanted the views he had spent the previous 20 years forcefully and scornfully maintaining: that prehistoric man was incapable of fine artistic expression and that the cave paintings found in Altmira, northern Spain, were forgeries.

The Paleothithic paintings at Altamira, which were produced around 14,000 B.C., were the first examples of prehistoric cave art to be officially discovered. It happened by chance in 1879, when a local landowner and amateur archaeologist was busily brushing away at the floor of the caves, searching for prehistoric tools. His nine-year-old daughter, Maria Sanz de Sautuola – a grave little thing with cropped hair and lace-up booties – was exploring farther on when she suddenly looked up, exclaiming, “Look, Papa, bison!” She was quite right: a veritable herd, subtly colored with black charcoal and ocher, ranged over the ceiling. When her father published the finding in 1880, he was met with ridicule. The experts scoffed at the very idea that prehistoric man – savages really – could have produced sophisticated polychrome paintings. The esteemed Monsieur Cartailhac and the majority of his fellow experts, without troubling to go and see the cave for themselves, dismissed the whole thing as a fraud. Maria’s father died, a broken and dishonored man, in 1888, four years before Cartailhac admitted his error.

After the discovery of many more caves and hundreds of lions, handprints, horses, women, hyenas, and bison, the artistic abilities of prehistoric man are no longer in doubt. It is thought that these caves were painted by shamans trying to charm a steady supply of food for their tribes. Many were painted using the pigment most readily available in the caves at the time: the charred stick remnants of their fires. At its simplest, charcoal is the carbon-rich by-product of organic matter – usually wood – and fire. It is purest and least ashy when oxygen has been restricted during it’s heating.

In The Secret Lives of Color by Kassia St. Clair

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Q: Your relationship with photography has changed considerably over the years. How did you make use of photography in your first series of pastel-on-sandpaper paintings, “Domestic Threats”?

"Truth Betrayed by Innocence," 2001, 58" x 38", the last pastel painting for which Bryan photographed my setup

“Truth Betrayed by Innocence,” 2001, 58″ x 38″,  the last pastel painting for which Bryan photographed the setup

A:  When my husband, Bryan, was alive I barely picked up a camera, except to photograph sights encountered during our travels. Throughout the 1990s and beyond (ending in 2007), I worked on my series of pastel-on-sandpaper paintings called, “Domestic Threats.”  These were realistic depictions of elaborate scenes that I staged in our 1932 Sears house in Alexandria, Virginia, and later, in a New York sixth floor walk-up apartment, using the Mexican masks, carved wooden animals, and other folk art figures that I found on our trips to Mexico. I staged and lit these setups, while Bryan photographed them using his Toyo-Omega 4 x 5 view camera.  We had been collaborating this way almost from the beginning (we met on February 21, 1986).  Having been introduced to photography by his father at the age of 6, Bryan was a terrific amateur photographer. He would shoot two pieces of 4 x 5 film at different exposures and I would select one, generally the one that showed the most detail in the shadows, to make into a 20 x 24 photograph. The photograph would be my starting point for making the pastel painting. Although I work from life, too, I could not make a painting without mostly looking at a reference photo.  After Bryan was killed on 9/11, I had no choice but to study photography.  Over time, I turned myself into a skilled photographer.

Comments are welcome!

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