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The Definition of Watercolour
The Australian Watercolour Institute [AWI] determines the definition of watercolour
quite loosely
as any painting that uses water as a vehicle and/or consists of pigment that requires water as a soluble agent.
To this effect various mediums used separately or mixed are acceptable such
as watercolour, gouache, acrylic and tempura casein.
Technology has advanced to the stage where water-soluble oil paint is available, which tends to confuse the opportunity of definition.
Paintings may also be enhanced by the use of such materials as charcoal, pencils and pastel.
To draw a strictly definitive explanation to satisfy the purist is to step back into the past.
Tthe AWI however, endeavours to encourage the use of transparent pigment that allows the white paper to
produce the wonderful glow of translucency to the colour.
Impasto techniques of thick, rich pigment are encouraged to a lesser degree.
To confuse the issue more, some artists experiment with other transparent
mediums that result in
a watercolour look to their work.
In summary, the final definition is quite subjective and requires a degree
of “nous”.
The old proverb comes to mind - “rules are made to be broken” - but by how much?
- Graham Austin, AWI Emeritus President
Graham Austin Watercolour Paintings
Those artists who say, "I don't bother myself with watercolour" may have good reason to ignore its challenge.
Whilst those who throw down the gauntlet often become addicted. Those who can do.
- Graham Austin
Watercolour paintings are often mistakenly thought of as fragile and feminine, therefor of secondary importance to the tough,
masculine oil medium. And then there are acrylic paintings somewhere in between.
To complicate things even more some artists
use transparent washes of acrylics to create their watercolour paintings.
However, this being said many continue to regard watercolour paintings secondary to oils.
Why is it we are so forgiving of oils that have cracked, flaked or darkened with time?
By comparison we forget about the ancient manuscripts [which fall into the watercolour category and
created before any knowledge of acid free papers used today] having survived for centuries with sensible care.
This overpowering belief, perpetuated over the years, that watercolours should
be regarded as secondary is
surely one of the art world’s haunting urban myths. All three mediums, acrylics, oils and watercolours are
deserving of equality and balance of stature. On the one hand the masculine oil medium
celebrates its harshness of texture, colour and possible grotesqueness whereas,
watercolour rejoices its natural subtleties, poetic luminosity and glorious spontaneity.
Acknowledging the qualities of both is yin and yang, a natural balance.
Perhaps the imbalance of perception apart from a generally lower price structure,
has sprouted from
the outspokenness of artists who deny watercolour as their oeuvre because of its difficult technical idiosyncrasies.
Many brush aside their own inadequacies by saying “I don’t bother myself with watercolour”. The fact is those who can do and revel in the experience.
Graham Austin's watercolours, like his Acrylics and Oils, also emphasise the aerial drama of the Australian landscape.
His watercolours give the dextrous impression of having fallen off the brush onto the painting surface with
washes of workmanlike elegance and incorporating his tradition of spotted textures.
Graham’s watercolours may show a forest of green spots, shadow linked,
flowing like a current over a fringe of red ochre.
The existence of borrowed colours, intermixed and settled into the local colour helps the production of his visual poetry.
His watercolours adopt some of the attributes of his acrylics. He thoroughly
rejoices in
the luminosity of colour washes, encouraging the glowing effect from white paper instead of using white pigment.
An introduction to the Australian Watercolour Institute
Almost everybody, at sometime, has made an attempt to paint in watercolour,
be it as a child with a cheap paintbox and brush or as a fascinated adult wishing to have a dabble.
Having a surviving interest and a genuine appreciation encourages the watercolourist to continue struggling with its
contrary habits and adversities. Variations in watercolour paper also adds to its complexities.
Making a mistake in watercolour, to a purist, is to err in the greatest sense of the word.
To attempt to correct that mistake is often a sure road to greater failure.
Whereas to err in oil is just a matter of cover up. With watercolour, if the mistake
refuses to work for the painting the result is declared a disaster.
Those artists who say, ‘I don’t bother myself with watercolour’ may have good reason to ignore its challenge.
Whilst those who throw down the gauntlet often become addicted. Those who can, do.
Too often, many painters become absorbed with the spontaneity of the medium and attempt to build their works totally out of watery gimmicks more for gimmicks sake.
The real essence of the medium’s spontaneity is to test the drawing talents of the painter by interlocking imagination.
In watercolour painting, poor drawing, even in abstraction, displays itself like food stains on a necktie.
Watercolour demands the highest standards possible within its uniqueness and requires incredible control like a wild animal to the circus trainer
and yet it sits akin to handwriting. Put a ballpoint into the hands of a hundred people and you receive a hundred handwriting styles. So it is with proficient watercolourists.
Art lovers who truly appreciate the excellence of a masterly watercolour must surely recognize the
annual exhibition of the Australian Watercolour Institute as the pinnacle of watercolour exhibitions in Australia.
Each exhibition is no exception as the AWI soars to new altitudes.
The incredible, self dependent painting styles proudly displayed in AWI exhibitions, vary like the individual characters responsible for their creation.
Ranging in size and executed from the technically pure, traditional gems to the exploratory masterpieces of abstraction,
our exhibitions offer a glorious smorgasbord of visual poetry.
Some works manifest their own version of power and glory whilst others revel in their subtleties, wafting lyrical before our eyes.
AWI exhibitions are a gallimaufry of water-based paint on paper, demonstrating an unlimited versatility of technique
as the AWI willingly turns its back on negative criticisms, sometimes espoused by insensitive non-believers of the medium.
Throughout society people of like minds have clustered to share their common interests.
Many art institutions and societies have been formed over the years and many have faded out of existence almost as quickly as they have appeared.
We are proud not only to have survived since 1923 but to have continued building on the beliefs, obsessions and passions of the AWI founders
.
Owing to enthusiasm, hard work and perfectionist attitudes of AWI committees and members throughout the last eighty years plus since 1923,
the AWI continues to emerge as a quietly achieving monarch in the history of Australian art.
This statement is enhanced by browsing through the list of past and present members and recognizing names of importance.
AWI Members are particularly appreciative and thankful for those who have willingly,
diligently and enthusiastically donated their time, energy and material.
-
Graham Austin OAM
AWI Emeritus President and Life Member
AWI President, 1989-2003
Acrylics, Oils and Watercolour Paintings
Other Website Links of Interest:
Australian Watercolour Institute www.awi.com.au
artsConnect: Australian Artists www.artsconnect.com.au
Taylor Galleries www.taylorgalleries.net.auGaleria Aniela www.galeriaaniela.com.au
Rushcutters Bay Gallery www.bevin@rbgallery.com
Electronic Cottage Art & Craft Gallery www.electroniccottage.com
Juried Online Art Festival www.jolaf.com
Online art galleries of modern paintings by artist Susan Leask www.slgalleries.com
Indigo Art www.indigoart.com.au
Brian Dunlop www.briandunlop.com
John Caldwell www.waragilstudios.com.au
Bernd Heinrich www.berndheinrich.com
Roger Murphy www.rogermurphy.com.au
Guy Troughton www.guytroughton.com
Robert Wade www.ozemail.com.au/~rawadw
Sculptr.com www.sculptr.com/
Wendy Bookatz www.wendybookatz.com
Saatchi-gallery www.saatchi-gallery.co.uk/
Aquarelle Gallery www.aquarellegallery.com.auArtarmon Art Gallery www.artarmongalleries.com.au
Christchurch
Art Gallery New Zealand www.christchurchartgallery.org.nz
Gosford Art Gallery www.gosfordregionalgallery.com
Greythorn Art Gallery www.greythorngalleries.com.au
HotFrog
Australian Business Directory www.hotfrog.com.au
Mosman Art Gallery tst.mosman.nsw.gov.au/mosman/culture/art-gallery
MyArtHost www.myarthost.com
Port Macquarie Art Gallery www.portmacquarieregionalgallery.com.au
Taree Art Gallery www.gtcc.nsw.gov.au/webcomm/mrag/index.php
Wagner Art Gallery www.wagnerartgallery.com.au
Wollongong Art Gallery www.wollongongcitygallery.com
