There has been a recent resurgence of interest in encaustic art. More and more contemporary artists are exploring this fascinating media, doing everything from abstract work to collage and mixed-media to representational paintings and even sculpture. Art collectors are coming to appreciate this form of expression and also are interested in knowing more about it and how to take care of their purchase.
Let's begin with a little background. The word "encaustic" comes from the Greek word "enkaustikos" which means "to burn in", referring to a process of the combining of hot natural wax with colored pigments to simultaneously paint and sculpt a surface and then fuse the layers together. As a technique that can be applied to just about any medium, it has been used to create unique multi-dimensional effects in art since the time of the ancient Greeks, Egyptians and Romans for use in their elaborate burial tombs, which have survived for centuries. Despite its durability, encaustic art lost favor during the Renaissance due to what was thought to be cumbersome requirements, considering tools they had available at that time. Encaustics has enjoyed a resurgence as a result of modern advances in technology and safety (in heating appliances) as well as its use by more contemporary well-known artists such as Jasper Johns and Diego Rivera. The encaustic beeswax medium, with its organic qualities, is not only beautiful because of its inherent and evocative luster and translucency, but it is one of the most durable of all artists' paints, since wax is impervious to moisture.
After completion of an encaustic painting there is a curing process of a few months. During this time moisture will work its way to the surface and cause a slight haze. If your painting looks dull, or gets dirty it can be wiped clean with water and buffed (gently, firmly but not overly vigorously) to a high gloss using a soft lint-free cloth such as cotton. This sheen dulls over time and can be brought back by repeating the process. Again, gentle is the word.
Encaustic paintings do not have to be varnished or protected by glass. The painting is stable under normal temperatures. Indirect sunlight is perfectly fine, however, I would not recommend direct sunlight (actually direct sunlight is inadvisable for any type of painting but even more so for wax-based paintings). Extreme cold can make the wax more brittle and susceptible to cracking. Again, extreme temperatures are bad for any fine art, not just encaustics. Other inadvisable locations within your house would be any spot near heat sources (such as fireplaces, over the stove in the kitchen, etc). Only direct heat or temperatures in excess of 130 degrees may begin to soften the work. Very hot days can soften the surface very slightly, but will cause no real damage to the painting. Do not leave an encaustic painting in trunk of your car on a hot day. Even with these measures, if the wax on your painting does soften, and/or dulling occurs, wait until the painting has hardened (by moving it to a cooler location) and buff it with a soft cloth.
Always protect the surface and edges of the encaustic painting when moving it. Although the surface is completely dry, encaustic paintings can be easily scratched, gouged, or chipped if handled roughly. While most encaustic wax paintings have damar in the wax (a hardening component), it is still primarily wax. Overall, encaustic paintings are extremely durable due to the fact that beeswax is impervious to moisture. Because of this it will not deteriorate and it will not lose its brilliance.
Examples of encaustic paintings have survived from the Greek and Roman empires and are still as vibrant and colorful today as they were when they were painted.
As a collector of encaustic paintings, you will enjoy the depth, the luminousity, and the wonderful creative expressions artists are creating in this media, but you will also have a piece - if the artist properly constructed the layers of wax in the painting, that will long outlast you and your children.
One of Jennifer Ewing's Spirit Boats painting. She also had Spirit Boat sculptures hanging from the ceiling which everyone enjoyed.
Here is a shot of Elizabeth Stahl's work which had a San Francisco waterscape theme. Most comments were of her Sutro Baths #2 painting which had a great complementary tone for the exhibit.
Margo Mullen standing by her Monterey Bay encaustics which have gold paint of spirit boats and other marine figures (including one titled, "Wasted Seamonster"). Her wedges were very popular.
