The Impact of Modern Paints

  • Jo Crook &
  • Tom Learner
Tate Gallery Publishing: 2000. 192 pp. £16.99
David Hockney's A Bigger Splash: the artist took advantage of new paint technology.

The realization of ideas in art depends on the technology available to the artist. The twentieth century's major technological contribution was the invention of 'synthetic' paints. Water-based polymer solutions and emulsions overcame the limitations of slow-drying, expensive oil paints. Although synthetic paints were originally developed for the household market, artists soon began to experiment with the new technology.

Synthetic paints are basically plastics in water. Thus, they dry by fast evaporation (oils dry by slower oxidation), and because the base solvent is water, a wider range of soluble pigments is available, improving the range of colours. The composition of the paint can be fine-tuned to provide properties such as drip resistance. And synthetic paints can be used on anything from paper to aluminium.

The Impact of Modern Paints investigates how artists have exploited the new paint technology. Jo Crook and Tom Learner, art conservationists at London's Tate Gallery, consider 10 artists from the Tate collection, including Andy Warhol, Bridget Riley and David Hockney. Between the 1950s and 1970s these artists were pioneers of the new paints. The practice of their art frequently veers towards science, their experiments in what could be done with the new synthetics being perhaps as important as their contributions to the conceptual development of art.

So the stage is set for a fascinating first-hand account of how Roy Lichtenstein, John Hoyland, Hockney and others have taken advantage of synthetic paint technology. But, disappointingly, the book contains few insights. Crook and Learner seem oddly unenthusiastic about their subject, and the text is spoilt by some particularly banal quotes from the artists. Obvious technical tricks are too often described in inordinate detail. And some comparison between synthetic and 'traditional' oil techniques would have been interesting, if the purpose really is to assess the impact of the new technology.

Nevertheless, the book does contain a brief but clear layman's account of the science of modern paint, and there are many excellent reproductions. Obliquely lit detail shots give a perspective unavailable to the casual gallery visitor, allowing an appreciation of texture as well as colour. The glossary is useful, if idiosyncratic ('paint' is defined, 'gesso' isn't).

The links between modern art and modern materials science are many and tantalizing. I suspect there is an intriguing story waiting to be told — but one that this book only hints at. Unfortunately, although they dab in a few interesting details, the authors have neglected to prepare the canvas, let alone apply the undercoat.