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Siddons from 1785 above), Sir Joshua Reynolds and Elisabeth Louise Vigée-Le Brun (finally celebrated with recent exhibits at the Met and Grand Palais), in her evocative portrait of the Austrian, Theresa, Countess Kinsky from 1793, below, all now depended on Prussian blue.But it wasn’t just in Europe that art felt the influence of Prussian blue.But according to this new research, specific plants and other organic materials were brought into the caves of Mona Island specifically to make new paints.In fact, people must have returned to the caves to add new artwork over the course of the 13 centuries, according to the study.The researchers noted that the indigenous people of Mona Island believed that the sun and moon emerged from beneath the ground, so exploring deep into the expansive network of subterranean caves became a highly spiritual act.

But because the Spaniards so thoroughly suppressed the culture of the native Taíno people, this will be hard to do, Houston said.Indeed, some of the artwork that had already been discovered was assumed to be much more recent, as cave art from pre-Columbian times would have been expected to be decayed or faded more than it had, according to the new findings, published online Oct. "The preservation can be unusual because they're relatively stable environments," Stephen Houston, an archaeologist and anthropologist who serves as the director of Early Cultures at Brown University, told Live Science."There are big issues here having to do with the nonobvious cultural choices they made," said Houston, who didn't work on the study.It’s easy to forget that before the 18th century paint was made from natural sources – plants, flowers, rocks etc.and creating artistic effects in paintings was a much more complicated and expensive matter.

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