Oil Painting: Oil Painting Is The Process of Painting With Pigments With A Medium of Drying Oil As
Oil Painting: Oil Painting Is The Process of Painting With Pigments With A Medium of Drying Oil As
Oil Painting: Oil Painting Is The Process of Painting With Pigments With A Medium of Drying Oil As
Oil painting is the process of painting with pigments with a medium of drying oil as
the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut
oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint,
such as the amount of yellowing or drying time. Certain differences, depending on
the oil, are also visible in the sheen of the paints. An artist might use several
different oils in the same painting depending on specific pigments and effects
desired. The paints themselves also develop a particular consistency depending on
the medium. The oil may be boiled with a resin, such as pine resin or frankincense,
to create a varnish prized for its body and gloss.
Although oil paint was first used for Buddhist paintings by Indian and Chinese
painters in western Afghanistan sometime between the fifth and tenth centuries,[1] it
did not gain popularity until the 15th century. Its practice may have migrated
westward during the Middle Ages. Oil paint eventually became the principal
medium used for creating artworks as its advantages became widely known. The
transition began with Early Netherlandish painting in Northern Europe, and by the
height of the Renaissance oil painting techniques had almost completely replaced the
Mona Lisa, Leonardo da Vinci, c.
use of tempera paints in the majority of Europe.
1503–06
In recent years, water miscible oil paint has come to prominence and, to some
extent, replaced traditional oil paint. Water-soluble paints contain an emulsifier that
allows them to be thinned with water rather than paint thinner, and allows very fast drying times (1–3 days) when compared with
traditional oils (1–3 weeks).
Contents
1 Techniques
2 History
3 Ingredients
4 Supports for oil painting
5 Process
6 Examples of famous works
7 References
8 Further reading
Techniques
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil
paint is usually mixed with linseed oil, artist grademineral spirits, or other solvents to make the paint thinner, faster or slower-drying.
(Because these solvents thin the oil in the paint, they can also be used to clean paint brushes.) A basic rule of oil paint application is
'fat over lean', meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each
additional layer contains less oil, the final painting will crack and peel. This rule does not ensure permanence; it is the quality and
type of oil that leads to a strong and stable paint film. There are many other media that can be
used with the oil, including cold wax, resins, and varnishes. These additional media can aid
the painter in adjusting the translucency of the paint, the sheen of the paint, the density or
'body' of the paint, and the ability of the paint to hold or conceal the brushstroke. These
aspects of the paint are closely related to the expressive capacity of oil paint.
Traditionally, paint was transferred to the painting surface using paintbrushes, but there are
other methods, including using palette knives and rags. Oil paint remains wet longer than
many other types of artists' materials, enabling the artist to change the color
, texture or form of
the figure. At times, the painter might even remove an entire layer of paint and begin anew.
This can be done with a rag and some turpentine for a time while the paint is wet, but after a
while the hardened layer must be scraped. Oil paint dries by oxidation, not evaporation, and is
Self-portrait, at work, Anders
usually dry to the touch within a span of two weeks (some colors dry within days). It is
Zorn, 1897
generally dry enough to bevarnished in six months to a year.
History
Although the history of tempera (pigment mixed with either egg whites or egg yolks, then
painted on a plastered section) and related media in Europe indicates that oil painting was
discovered there independently, there is evidence that oil painting was used earlier in
Afghanistan.[2][3][4][5] Outdoor surfaces and surfaces like shields—both those used in
tournaments and those hung as decorations—were more durable when painted in oil-based
media than when painted in the traditional tempera paints.
Most Renaissance sources, in particular Vasari, credited northern European painters of the
15th century, and Jan van Eyck in particular, with the "invention" of painting with oil media
on wood panel supports ("support" is the technical term for the underlying backing of a
painting). However, Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-
based painting in his treatise, On Various Arts, written in 1125. At this period, it was probably Self-portrait of Rembrandt,
used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. 1630. An example of oil
However, early Netherlandish painting in the 15th century was the first to make oil the usual painting on copper.
painting medium, and explore the use of layers and glazes, followed by the rest of Northern
Europe, and only then Italy.
Early works were still panel paintings on wood, but around the end of the 15th century canvas became more popular as the support,
as it was cheaper, easier to transport, allowed larger works, and did not require complicated preliminary layers ofgesso (a fine type of
plaster). Venice, where sail-canvas was easily available, was a leader in the move to canvas. Small cabinet paintings were also made
on metal, especially copper plates. These supports were more expensive but very firm, allowing intricately fine detail. Often printing
plates from printmaking were reused for this purpose. The popularity of oil spread through Italy from the North, starting in Venice in
the late 15th century. By 1540, the previous method for painting on panel (tempera) had become all but extinct, although Italians
continued to use chalk-basedfresco for wall paintings, which was less successful and durable in damper northern climates.
Ingredients
The linseed oil itself comes from the flax seed, a common fiber crop. Linen, a "support" for oil painting (see relevant section), also
comes from the flax plant. Safflower oil or the walnut or poppyseed oil are sometimes used in formulating lighter colors like white
because they "yellow" less on drying than linseed oil, but they have the slight drawback of drying more slowly and may not provide
the strongest paint film. Linseed oil tends to dry yellow and can change the hue of the color
.
Recent advances in chemistry have produced modern water miscible oil paints that can be used and cleaned up with water. Small
alterations in the molecular structure of the oil creates this watermiscible property.
An even newer type of paint, heat-set "oils" (which are actually thermoplastic)
remain liquid until heated to 265–280 °F (130–138 °C) for about 15 minutes. Since
the paint otherwise never dries, cleanup is not needed (except when one wants to use
a different color with the same brush). Although not technically true oils (the
medium is an unidentified "non-drying synthetic oily liquid, embedded with a heat
sensitive curing agent"), the paintings made with this paint resemble oil paintings
and are usually shown as such.[1]
Flax seed is the source of linseed oil. Supports for oil painting
Traditional artists' canvas is made
from linen, but less expensive cotton fabric has gained popularity. The artist first
prepares a wooden frame called a "stretcher" or "strainer". The difference between
the two names is that stretchers are slightly adjustable, while strainers are rigid and
lack adjustable corner notches. The canvas is then pulled across the wooden frame
and tacked or stapled tightly to the back edge. Then the artist applies a "size" to
isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was
coated with a layer of animal glue (modern painters will use rabbit skin glue) as the
size and primed with lead white paint, sometimes with added chalk. Panels were
prepared with a gesso, a mixture of glue and chalk.
Modern acrylic "gesso" is made of titanium dioxide with an acrylic binder. It is Splined canvas
frequently used on canvas, whereas real gesso is not suitable for canvas. The artist
might apply several layers of gesso, sanding each smooth after it has dried. Acrylic
gesso is very difficult to sand. One manufacturer makes a "sandable" acrylic gesso, but it is intended for panels only and not canvas.
It is possible to make the gesso a particular color, but most store-bought gesso is white. The gesso layer, depending on its thickness,
will tend to draw the oil paint into the porous surface. Excessive or uneven gesso layers are sometimes visible in the surface of
finished paintings as a change that's not from the paint.
Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French,
as it was—and evidently still is—supported by the main suppliers of artists' materials. Size 0 (toile de 0) to size 120 (toile de 120) is
divided in separate "runs" for figures (figure), landscapes (paysage) and marines (marine) that more or less preserve the diagonal.
Thus a 0 figure corresponds in height with apaysage 1 and a marine 2.[6]
Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, Masonite, and cardboard have been used, the most
popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel
is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute
solidity of a wooden panel has an advantage.
Process
Oil paint is made by mixing pigments of colors with an oil medium. Different colors are made, or purchased premixed, before
painting begins, but further shades of color are usually obtained by mixing small quantities together as the painting process is
underway. An artist's palette, traditionally a thin wood board held in the hand, is used for holding and mixing paints of different
colors. Pigments may be any number of natural or synthetic substances with color, such as sulphides for yellow or cobalt salts for
blue. Traditional pigments were based on minerals or plants, but many have proven unstable over long periods of time; the
appearance of many old paintings today is very different from the original. Modern pigments often use synthetic chemicals. The
pigment is mixed with oil, usually linseed, but other oils may be used. The various oils dry dif
ferently, which creates assorted effects.
Traditionally, artists mixed their own paints from raw pigments that they often
ground themselves and medium. This made portability difficult and kept most
painting activities confined to the studio. This changed in the 1800s, when tubes of
oil paint became widely available following the American portrait painter John
Goffe Rand's invention of the squeezable or collapsible metal tube in 1841 (the year
of Claude Monet's birth). Artists could mix colors quickly and easily, which enabled,
for the first time, relatively convenient plein air painting (a common approach in
French Impressionism).
A brush is most commonly employed by the artist to apply the paint, often over a
sketched outline of their subject (which could be in another medium). Brushes are
made from a variety of fibers to create different effects. For example, brushes made
with hog bristle might be used for bolder strokes and impasto textures. Fitch hair and
mongoose hair brushes are fine and smooth, and thus answer well for portraits and
detail work. Even more expensive are red sable brushes (weasel hair). The finest
A traditional wood palette used to
quality brushes are called "kolinsky sable"; these brush fibers are taken from the tail
hold and mix small amounts of paint
of the Siberian weasel. This hair keeps a superfine point, has smooth handling, and while working.
good memory (it returns to its original point when lifted off the canvas), known to
artists as a brush's "snap." Floppy fibers with no snap, such as squirrel hair, are
generally not used by oil painters.
In the past few decades, many synthetic brushes have been marketed. These are very durable and can be quite good, as well as cost
efficient. Brushes come in many sizes and are used for different purposes. The type of brush also makes a difference. For example, a
"round" is a pointed brush used for detail work. "Flat" brushes are used to apply broad swaths of color. "Bright" is a flat brush with
shorter brush hairs. "Filbert" is a flat brush with rounded corners. "Egbert" is a very long, and rare, filbert brush. The artist might also
apply paint with a palette knife, which is a flat metal blade. A palette knife may also be used to remove paint from the canvas when
necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used to apply or remove paint. Some
artists even paint with theirfingers.
Most oil painters paint in layers known as "glazes", a method also simply called
"indirect painting". This method was first perfected through an adaptation of the egg
tempera painting technique, and was applied by the Flemish painters in Northern
Europe with pigments ground in linseed oil. More recently, this approach has been
called the "mixed technique" or "mixed method". The first coat (the underpainting)
is laid down, often painted with egg tempera or turpentine-thinned paint. This layer
helps to "tone" the canvas and to cover the white of the gesso. Many artists use this
layer to sketch out the composition. This first layer can be adjusted before
proceeding further, an advantage over the "cartooning" method used in fresco
technique. After this layer dries, the artist might then proceed by painting a "mosaic"
Tubes of paint of color swatches, working from darkest to lightest. The borders of the colors are
blended together when the "mosaic" is completed, and then left to dry before
applying details.
Artists in later periods, such as the Impressionist era (late 19th century), often expanded on this wet-on-wet method, blending the wet
paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called "alla prima".
This method was created due to the advent of painting outdoors, instead of inside a studio, because while outside, an artist did not
have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a combination of both
techniques to add bold color (wet-on-wet) and obtain the depth of layers through glazing.
When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made
from dammar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing the oil painting itself, to enable
cleaning and conservation. Some contemporary artists decide not to varnish their work, preferring the surface unvarnished.
Arnolfini Portrait, Jan van La donna velata, Raphael, The Rape of Europa, Titian,
Eyck, 1434 (on panel) 1516 1562
The Raising of the Cross, The Anatomy Lesson of Dr. Innocent X, Velázquez, c
Peter Paul Rubens, 1610–11 Nicolaes Tulp, Rembrandt, 1650
1632
The Milkmaid, Johannes The Toilet of Venus, The Blue Boy, Thomas
Vermeer, 1658-1660 François Boucher, 1751 Gainsborough, 1770
Battle of Somosierra, Piotr Woman with a Parasol - Bal du moulin de la Galette,
Michałowski, 1837 Madame Monet and Her Pierre-Auguste Renoir1876
Son, Claude Monet, 1875
Portrait of Dr. Gachet, The Cardplayers, Paul The Old Guitarist, Pablo
Vincent van Gogh, 1890 Cézanne, 1892 Picasso, 1903
Les Demoiselles d'Avignon, Composition VII, Wassily Bella with White Collar, Marc
Pablo Picasso, 1907 Kandinsky, 1913 Chagall, 1917
References
1. Barry, Carolyn. "Earliest Oil Paintings Found in Famed Afghan Caves"(http://news.nationalgeographic.com/news/20
08/02/080205-afghan-paintings_2.html). National Geographic Society. Retrieved 7 January 2013.
2. "Rediscovering treasures of Bamiyan"(http://news.bbc.co.uk/2/hi/south_asia/7508917.stm)
. BBC News. 17 July
2008. Retrieved 20 May 2010.
3. Afghan caves hold world's first oil paintings: expert – ABC News (Australian Broadcasting Corporation)
(http://www.a
bc.net.au/news/stories/2008/01/26/2147150.htm?section=world)
4. Earliest Oil Paintings Discovered(http://www.livescience.com/history/080422-ancient-oils.html)
5. Sciencemage.org (http://www.sciencemag.org/content/vol320/issue5876/r-samples.dtl#320/5876/591d), Science
Magazine 2 May 2008
6. Haaf, Beatrix (1987). "Industriell vorgrundierte Malleinen. Beiträge zur Entwicklungs-, Handels- und
Materialgeschichte". Zeitschrift für Kunsttechnologie und Konservierung . 1: 7–71.
Further reading
Chieffo, Clifford T.:Contemporary Oil Painter'sHandbook, Prentice Hall, 1976.
The Artist's Handbook of Materials and T echniques, comprehensive reference book by Ralph Mayer (1940)
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