385:
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31:
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a painting might take months or years to finish, which might disappoint an anxious patron. Oil paints blend well with each other, making subtle variations of color possible as well as creating many details of light and shadow. Oil paints can be diluted with turpentine or other thinning agents, which artists take advantage of to paint in layers.
85:; the technique was perhaps not invented there. Oil-based paints made their way to Europe by the 12th century and were used for simple decoration, mostly on wood, but oil painting did not begin to be adopted as an artistic medium there until the early 15th century. Common modern applications of oil paint are in finishing and protection of
693:. These pigments strongly varied in price, transparency, and lightfastness. They included both inorganic and organic substances, the latter often being far less permanent. The painter bought them from specialized traders, "color men", and let his apprentices grind them with oil in his studio to obtain paint of the desired
495:
The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually. Earlier media such as egg tempera dried quickly, which prevented the artist from making changes or corrections. With oil-based paints, revising was comparatively easy. The disadvantage is that
400:
and glass syringes as the primary tool of paint transport. Artists, or their assistants, previously ground each pigment by hand, carefully mixing the binding oil in the proper proportions. Paints could now be produced in bulk and sold in tin tubes with a cap. The cap could be screwed back on and the
132:
The technical history of the introduction and development of oil paint, and the date of introduction of various additives (driers, thinners) is still—despite intense research since the mid 19th century—not well understood. The literature abounds with incorrect theories and information: in general,
476:
one hundred grams of oil can absorb. Oils with an iodine number greater than 130 are considered drying, those with an iodine number of 115–130 are semi-drying, and those with an iodine number of less than 115 are non-drying. Linseed oil, the most prevalent vehicle for artists' oil paints, is a
649:
organic and inorganic pigments have been introduced since the nineteenth century. Natural pigments have the advantage of being well understood through centuries of use, but synthetics have greatly increased the spectrum of available colors, and many have a high level of
579:(a round, flat-bottomed glass instrument with a handgrip). Pigment and oil are ground together 'with patience' until a smooth, ultra-fine paste is achieved. This paste is then placed into jars or metal paint tubes and labeled. Modern industrial production uses
401:
paints preserved for future use, providing flexibility and efficiency to painting outdoors. The manufactured paints had a balanced consistency that the artist could thin with oil, turpentine, or other mediums.
575:. By hand, the process involves first mixing the paint pigment with the linseed oil to a crumbly mass on a glass or marble slab. Then, a small amount at a time is ground between the slab and a glass
551:
may be used as alternatives to linseed oil for a variety of reasons. For example, safflower and poppy oils are paler than linseed oil and allow for more vibrant whites straight from the tube.
293:
were commonly known to early painters. However, the difficulty in acquiring and working the materials meant that they were rarely used (and indeed the slow drying was seen as a disadvantage).
527:
plant. Modern processes use heat or steam to produce refined varieties of oil with fewer impurities, but many artists prefer cold-pressed oils. Other vegetable oils such as
613:
The color of oil paint is derived from small particles of colored pigments mixed with the carrier, the oil. Common pigment types include mineral salts such as white oxides:
657:
When oil paint was first introduced in the arts, basically the same limited range of available pigments were used that had already been applied in tempera: yellow ochre,
274:
due to its long drying time. Oil paint was mainly used as it is today in house decoration, as a tough waterproof cover for exposed woodwork, especially outdoors.
567:
are sometimes used to modify its chemical properties. In this way, the paint can be made to dry more quickly (if that is desired), or to have varying levels of
760:. Though having mainly an industrial application, these pigments by the twenty-first century had largely replaced traditional types in artistic oil paint also.
352:, or lead (II) oxide. The new mixture had a honey-like consistency and better drying properties (drying evenly without cracking). This mixture was known as
808:
916:
768:
Many of the historical pigments were dangerous, and many pigments still in use are highly toxic. Some of the most poisonous pigments, such as
972:
101:. The thickness of the coat has considerable bearing on the time required for drying: thin coats of oil paint dry relatively quickly.
317:, or works combining tempera and oil painting, and by the 16th-century easel painting in pure oils had become the norm. The claim by
93:
and exposed metal structures such as ships and bridges. Its hard-wearing properties and luminous colors make it desirable for both
457:
Traditional oil paints require an oil that always hardens, forming a stable, impermeable film. Such oils are called causative, or
1050:
348:, whom Vasari wrongly credited with the introduction of oil paint to Italy, does seem to have improved the formula by adding
499:
There is also another kind of oil paint that is water-mixable, making the cleaning and using process easier and less toxic.
133:
anything published before 1952 is suspect. Until 1991 nothing was known about the organic aspect of cave paintings from the
77:
The earliest surviving examples of oil paint have been found in Asia from as early as the 7th century AD, in examples of
448:(bottom). The order of drying rate is linolenic > linoleic > oleic acid, reflecting their degree of unsaturation.
958:
1036:
955:
164:, "using walnut, poppy seed oils, Linseed oil and castor oil." In some regions, this technique is referred to as the
17:
571:. Modern oils paints can, therefore, have complex chemical structures; for example, affecting resistance to
306:
826:
568:
305:
paints became insufficient to achieve the very detailed and precise effects that oil could achieve. The
900:
861:
360:
later improved these techniques by cooking the mixture at a very low temperature and adding 5 to 10%
913:
97:
and exterior use on wood and metal. Due to its slow-drying properties, it has recently been used in
98:
412:." For the impressionists, tubed paints offered an easily accessible variety of colors for their
189:
200:
was not used as a medium because of its tendency to dry very slowly, darken, and crack, unlike
932:
441:
345:
267:
201:
779:
Many pigments are toxic to some degree. Commonly used reds and yellows are produced using
8:
341:
state—or he may have simply used sun-thickened oils (slightly oxidized by Sun exposure).
333:
with a skill hardly equaled since. Van Eyck's mixture may have consisted of piled glass,
325:"invented" oil painting, while it has cast a long shadow, is not correct, but van Eyck's
94:
773:
646:
626:
384:
270:, a 12th-century German monk, recommended linseed oil but advocated against the use of
209:
1046:
1032:
951:
841:
357:
142:
704:, new pigments became known in Europe, most of the organic and earthy type, such as
949:(exhibition catalogue). New York: Metropolitan Museum of Art Yale University Press.
780:
701:
622:
618:
576:
507:
160:. The works are located in cave-like rooms carved from the cliffs of Afghanistan's
40:
901:""Flesh is the reason oil paint was invented": Chaim Soutine at the Jewish Museum"
1066:
920:
851:
662:
580:
462:
404:
Paint in tubes also changed the way some artists approached painting. The artist
393:
329:
of oil paint achieved novel results in terms of precise detail and mixing colors
282:
266:
were aware of these ancient books and used the techniques in their own artworks.
216:
807:, are made with cobalt compounds. Some varieties of cobalt violet are made with
104:
The viscosity of the paint may be modified by the addition of a solvent such as
796:
753:
749:
745:
489:
310:
177:
161:
90:
86:
124:
medium can also be used to modify the viscosity and drying time of oil paint.
1071:
1060:
1010:
H. Gluck, "The
Impermanences of Painting in Relation to Artists' Materials",
821:
804:
741:
729:
713:
705:
651:
544:
540:
532:
469:
437:
409:
243:, and linseed. When thickened, the oils became resinous and could be used as
228:
185:
117:
35:
846:
757:
670:
560:
413:
322:
314:
236:
193:
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74:, but oil paint has many practical uses, mainly because it is waterproof.
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197:
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30:
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641:. Still another group of pigments comes from living organisms, such as
614:
536:
465:
458:
445:
429:
373:
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bones, and mineral pigments boiled in linseed oil until they reached a
330:
240:
224:
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105:
59:
784:
709:
694:
682:
666:
485:
365:
271:
256:
492:. The rate of this process can be very slow, depending on the oil.
301:
As the public preference for naturalism increased, the quick-drying
247:
to seal and protect paintings from water. Additionally, when yellow
788:
737:
733:
725:
720:. In the nineteenth century, synthetic ultramarine was introduced,
528:
349:
252:
232:
78:
597:
145:
is known for saying "Flesh is the reason oil paint was invented".
999:
The Art of
Impressionism: How Impressionism Changed the Art World
886:
Coremans, Gettens, Thissen, La technique des
Primitifs flamands,
748:
and a new range of lightfast synthetic organic pigments, such as
674:
592:
424:
361:
338:
302:
278:
248:
244:
113:
55:
634:
564:
473:
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covered by light layers of oil. The slow-drying properties of
712:
expanded the range of pigments, which led to the discovery of
658:
638:
630:
606:
433:
416:
palettes, motivating them to make spontaneous color choices.
121:
51:
392:
The paint tube was invented in 1841 by the portrait painter
524:
520:
468:. One common measure of the causative property of oils is
263:
153:
The oldest known oil paintings are
Buddhist murals created
376:
each may have altered this recipe for their own purposes.
602:
290:
205:
583:
rollers to grind pigment and oil together into a paste.
484:
process like water does. Instead, they dry semisolid by
408:
said, "Without tubes of paint, there would have been no
744:. In the twentieth century, mass production started of
708:. In the eighteenth century, the developing science of
1031:
Viking Adult; 5th revised and updated edition, 1991.
515:
The earliest and still most commonly used vehicle is
554:
192:, there is little evidence to indicate their use as
120:
of the dried oil paint film. The addition of oil or
944:
787:red uses natural or synthetic mercuric sulfide or
176:Though the ancient Mediterranean civilizations of
1029:The Artist's Handbook of Materials and Techniques
947:Antonello da Messina, Sicily's Renaissance Master
923:, Rosella Lorenzi, Discovery News. Feb. 19, 2008.
141:of the binders. Well known Dutch-American artist
1058:
511:Three oil paints, one of which is mixed with wax
461:, oils, and are characterized by high levels of
171:
973:"Never Underestimate the Power of a Paint Tube"
436:is derived from three unsaturated fatty acids,
364:, which prevented the darkening of the paint.
70:has been perhaps the most prestigious form in
1045:Watson-Guptill; Revised and expanded, 2006,
480:When exposed to air, oils do not undergo an
277:In the 13th century, oil was used to detail
914:"Oldest Oil Paintings Found in Afghanistan"
251:was added to oil, it could be spread over
137:era. Many assumptions were made about the
285:described a painting technique utilizing
596:
506:
423:
383:
29:
1004:
795:and Cremnitz white are made with basic
601:Pigments for sale at a market stall in
14:
1059:
799:. Some intense blue colors, including
296:
219:recorded recipes involving the use of
148:
1012:Journal of the Royal Society of Arts
309:of the 15th century saw the rise of
255:as a less expensive alternative to
24:
452:
344:The Flemish-trained or influenced
25:
1083:
555:Extraction methods and processing
208:(the latter of which was used in
970:
281:paintings. In the 14th century,
772:(copper(II) acetoarsenite) and
1001:. Yale University Press. 2000.
991:
964:
938:
926:
907:
893:
880:
428:Representative component of a
54:that consists of particles of
13:
1:
868:
379:
172:Classical and medieval period
154:
116:may be added to increase the
625:. Another class consists of
307:Early Netherlandish painting
66:. For several centuries the
7:
945:Barbera, Giocchino (2005).
827:Acrylic painting techniques
814:
763:
559:Once the oil is extracted,
10:
1088:
774:orpiment (arsenic sulfide)
590:
586:
502:
419:
127:
979:. Smithsonian Institution
862:Oil painting reproduction
472:, the number of grams of
50:is a type of slow-drying
27:Type of slow-drying paint
776:, have fallen from use.
621:, and the red to yellow
388:Tubes of various colors.
99:paint-on-glass animation
1041:Gottsegen, Mark David.
888:Studies in Conservation
1043:The Painter's Handbook
629:, the main ones being
610:
512:
449:
389:
215:Greek writers such as
44:
919:June 3, 2011, at the
600:
510:
432:, this particular tri
427:
406:Pierre-Auguste Renoir
387:
196:in painting. Indeed,
33:
977:Smithsonian Magazine
933:Theophilus Presbyter
346:Antonello da Messina
268:Theophilus Presbyter
732:, cadmium colours,
519:, pressed from the
313:purely in oils, or
297:Renaissance onwards
1014:, Volume CXII 1964
611:
513:
450:
390:
210:encaustic painting
149:First recorded use
45:
1051:978-0-8230-3496-3
842:List of art media
358:Leonardo da Vinci
143:Willem de Kooning
39:in oil paint, by
16:(Redirected from
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702:Age of Discovery
623:cadmium pigments
619:titanium dioxide
287:tempera painting
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41:Johannes Vermeer
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903:. 13 July 2018.
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852:Semi-drying oil
817:
809:cobalt arsenate
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663:lead-tin-yellow
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463:polyunsaturated
455:
453:Characteristics
442:alpha-linolenic
422:
396:, superseding
394:John Goffe Rand
382:
356:—"cooked oil."
299:
283:Cennino Cennini
221:oils for drying
217:Aetius Amidenus
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157:
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58:suspended in a
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18:Oil-based paint
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750:arylide yellow
746:titanium white
591:Main article:
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490:polymerization
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444:(middle), and
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971:Hurt, Perry.
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935:Book I ch. 25
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874:Cited sources
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822:Acrylic paint
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805:cerulean blue
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751:
747:
743:
742:cerulean blue
739:
735:
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730:chrome yellow
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714:Prussian blue
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707:
706:Indian yellow
703:
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652:lightfastness
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410:impressionism
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158: 650 AD
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81:paintings in
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36:View of Delft
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1022:Bibliography
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981:. Retrieved
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966:
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847:Oil painting
778:
767:
758:quinacridone
736:, synthetic
699:
656:
612:
558:
549:soybean oils
514:
498:
494:
479:
477:drying oil.
456:
403:
398:pig bladders
391:
353:
343:
326:
323:Jan van Eyck
315:oil painting
300:
291:organic oils
276:
261:
214:
175:
152:
138:
131:
110:white spirit
103:
76:
68:oil painting
47:
46:
34:
837:Egg tempera
801:cobalt blue
793:Flake white
770:Paris green
718:cobalt blue
700:During the
679:ultramarine
643:madder root
627:earth types
517:linseed oil
482:evaporation
466:fatty acids
446:oleic acids
354:oglio cotto
198:linseed oil
168:technique.
135:Paleolithic
83:Afghanistan
72:Western art
64:linseed oil
62:, commonly
1061:Categories
869:References
857:Watercolor
832:Drying oil
722:zinc white
691:lead white
687:lamp black
615:zinc oxide
533:poppy seed
430:drying oil
380:Paint tube
374:Tintoretto
331:wet-on-wet
262:Christian
223:, such as
166:drying oil
118:glossiness
106:turpentine
60:drying oil
785:vermilion
710:chemistry
695:viscosity
683:verdigris
667:vermilion
647:Synthetic
561:additives
545:safflower
541:sunflower
486:oxidation
414:plein air
366:Giorgione
272:olive oil
257:gold leaf
139:chemistry
91:buildings
48:Oil paint
959:(online)
917:Archived
890:1 (1952)
815:See also
789:cinnabar
764:Toxicity
738:alizarin
734:aureolin
726:viridian
563:such as
488:causing
438:linoleic
350:litharge
335:calcined
253:tin foil
237:pine nut
233:hempseed
95:interior
79:Buddhist
961:, p. 14
781:cadmium
675:azurite
593:Pigment
587:Pigment
523:of the
503:Sources
440:(top),
420:Carrier
362:beeswax
339:viscous
303:tempera
279:tempera
249:pigment
245:varnish
128:History
114:varnish
56:pigment
1067:Paints
1049:
1035:
983:18 May
954:
783:, and
671:kermes
635:sienna
577:muller
565:Liquin
547:, and
537:walnut
474:iodine
459:drying
372:, and
370:Titian
319:Vasari
241:castor
225:walnut
202:mastic
184:, and
178:Greece
112:, and
659:umber
639:umber
631:ochre
607:India
569:gloss
434:ester
321:that
264:monks
229:poppy
194:media
188:used
186:Egypt
122:alkyd
52:paint
1072:Oils
1047:ISBN
1033:ISBN
985:2013
952:ISBN
803:and
756:and
740:and
716:and
689:and
637:and
581:mill
529:hemp
525:flax
521:seed
204:and
182:Rome
87:wood
603:Goa
327:use
212:).
206:wax
108:or
89:in
1063::
975:.
811:.
791:.
752:,
728:,
724:,
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685:,
681:,
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645:.
633:,
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605:,
573:UV
543:,
539:,
535:,
531:,
368:,
259:.
239:,
235:,
231:,
227:,
180:,
155:c.
1053:.
987:.
609:.
43:.
20:)
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