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545:('on various arts'), written about 1125. At this period, it was probably used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. Surfaces exposed to the weather or of items 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. However, early Netherlandish painting with artists like
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425:', 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. The consistency on the canvas depends on the layering of the oil paint. This rule does not ensure permanence; it is the quality and type of oil that leads to a strong and stable paint film.
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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.
1274:". 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.
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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 their
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technique and refined level of the paint media used in the murals and their survival into the present day suggests that oil paints had been used in Asia for some time before the 7th century. The technique used, of binding pigments in oil, was unknown in Europe for another 900 years or so. In
Northern Europe, practitioners of
1254:) 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
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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
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for several centuries, spreading from Europe to the rest of the world. The advantages of oil for painting images include "greater flexibility, richer and denser colour, the use of layers, and a wider range from light to dark". But the process is slower, especially when one layer of paint needs to be
440:
and rags. Palette knives can scrape off any paint from a canvas and can also be used for application. 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
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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, used for "scrubbing in". "Filbert" is a flat brush with rounded corners. "Egbert" is a very
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There are 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
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Old masters usually applied paint in thin layers known as "glazes" that allow light to penetrate completely through the layer, a method also simply called "indirect painting". This technique is what gives oil paintings their luminous characteristics. This method was first perfected through an
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with an acrylic binder. It is 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
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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. In some
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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. Modern pigments often use synthetic chemicals. The pigment is mixed with oil, usually linseed, but other oils may be used. The various oils dry
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and is famous for the
Bamiyan Buddhas, a series of giant statues, behind which rooms and tunnels are carved from the rock. The murals are located in these rooms. The artworks display a wide range of pigments and ingredients, and even included the use of a final varnish layer. The application
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were reused for this purpose. The increasing use of oil spread through Italy from
Northern Europe, 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-based
640:, began to use dark grounds. Until the mid-19th century there was a division between artists who exploited "effects of handling" in their paintwork, and those who continued to aim at "an even, glassy surface from which all evidences of manipulation had been banished".
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technique. After this layer dries, the artist might then proceed by painting a "mosaic" 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.
1028:, 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.
515:
developed oil-painting techniques which other
Europeans adopted from around the late 15th century. From the Renaissance on, oil painting technology had almost completely replaced the earlier use of tempera paints in the majority of Europe.
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and prepared in a complicated and rather expensive process with the panel constructed from several pieces of wood, although such a support has a tendency to warp. Panels continued to be used well into the 17th century, including by
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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
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This became much more common in the 16th century, as may painters began to draw attention to the process of their painting, by leaving individual brushstrokes obvious, and a rough painted surface. Another
Venetian,
1203:. This hair keeps a superfine point, has smooth handling, and 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
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to make the paint thinner, faster or slower drying. (Because the solvents thin the oil in the paint, they can also be used to clean paint brushes.) A basic rule of oil paint application is '
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beneath these was usually white (typically gesso coated with a primer), allowing light to reflect back through the layers. But van Eyck, and Robert Campin a little later, used a
1170:, traditionally a thin wood board held in the hand, is used for holding and mixing paints. Pigments may be any number of natural or synthetic substances with color, such as
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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 "
655:'s invention of the squeezable or collapsible metal tube in 1841. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient
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were also made on metal, especially copper plates. These supports were more expensive but very firm, allowing intricately fine detail. Often printing plates from
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pre-prepared before painting begins, further shades of color are usually obtained by mixing small quantities together as the painting process is underway. An
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method, blending the wet paint on the canvas without following the
Renaissance-era approach of layering and glazing. This method is also called "
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fabric has been used. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the two names is that
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in the early 16th century, led partly by a wish to paint larger images, which would have been too heavy as panels. Canvas for sails was made in
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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
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Smaller paintings, with very fine detail, were easier to paint on a very firm surface, and wood panels or copper plates, often reused from
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was used by
Europeans for painting statues and woodwork from at least the 12th century, but its common use for painted images began with
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Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint.
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crystals dissolved in turpentine. Such varnishes can be removed without disturbing the oil painting itself, to enable cleaning and
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technique in places, painting a second layer soon after the first. Initially the aim was, as with the established techniques of
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In the past few decades, many synthetic brushes have been marketed. These are very durable and can be quite good, as well as
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effects, using a raised or rough texture in the surface of the paint, are those from the later works of the
Venetian painter
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1920:
Haaf, Beatrix (1987). "Industriell vorgrundierte
Malleinen. Beiträge zur Entwicklungs-, Handels- und Materialgeschichte".
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1285:. Some contemporary artists decide not to varnish their work, preferring the surface unvarnished to avoid a glossy look.
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in the early and mid-15th century were the first to make oil the usual painting medium and explore the use of layers and
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933:" to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of
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hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red
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Thin blade used for the application or removal of paint. Can also be used to create a mixture of various pigments.
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for a time while the paint is wet, but after a while the hardened layer must be scraped off. Oil paint dries by
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Before the 19th century, artists or their apprentices ground pigments and mixed their paints for the range of
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brushstroke. These aspects of the paint are closely related to the expressive capacity of oil paint.
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of the paints. An artist might use several different oils in the same painting depending on specific
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of colors with an oil medium. Since the 19th century the different main colors are purchased in
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painting technique (egg yolks used as a binder, mixed with pigment), and was applied by the
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for wall paintings, which was less successful and durable in damper northern climates.
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to provide protection and texture. The paint itself can be moulded into different
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Traditionally, paint was most often transferred to the painting surface using
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Process of painting with pigments that are bound with a medium of drying oil
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1805:"Synchrotron light unveils oil in ancient Buddhist paintings from Bamiyan"
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Renaissance techniques used a number of thin almost transparent layers or
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have been used, the most popular surface since the 16th century has been
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Brushes come in multiple sizes and are used for different purposes. The
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The earliest known surviving oil paintings are
Buddhist murals created
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that can be used and cleaned up with water. Small alterations in the
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539:) clearly gives instructions for oil-based painting in his treatise,
527:, falsely credit northern European painters of the 15th century, and
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and effects desired. The paints themselves also develop a particular
251:. Certain differences, depending on the oil, are also visible in the
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636:, was a leader in this. In the 17th century some artists, including
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layer of paint and begin anew. This can be done with a rag and some
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208:, oil painting techniques had almost completely replaced the use of
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172:. It has been the most common technique for artistic painting on
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in particular, with the invention of oil paints. However,
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used to hold and mix small amounts of paint while working
243:. The choice of oil imparts a range of properties to the
1831:"Afghan caves hold world's first oil paintings: expert"
1779:"World's oldest use of oil paint found in Afghanistan"
535:(a pseudonymous author who is sometimes identified as
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depending on the medium. The oil may be boiled with a
1199:"; these brush fibers are taken from the tail of the
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A detail from the oldest oil paintings in the world (
718:"oil paint ingredients" "oil paint manufacture"
465:
A section of the earliest discovered oil paintings (
1246:in Northern Europe with pigments usually ground in
1083:"oil painting techniques" "oil painting tools"
58:. Unsourced material may be challenged and removed.
19:"Oil on canvas" redirects here. For the album, see
1922:Zeitschrift fĂĽr Kunsttechnologie und Konservierung
981:) that more or less preserve the diagonal. Thus a
2001:The Artist's Handbook of Materials and Techniques
2039:
1266:era (late 19th century), often expanded on this
413:is usually mixed with linseed oil, artist grade
156:is a painting method involving the procedure of
1936:
1537:Woman with a Parasol – Madame Monet and Her Son
891:and so easily available and cheaper than wood.
436:, but there are other methods, including using
188:The oldest known oil paintings were created by
1207:hair, are generally not used by oil painters.
1195:hair). The finest quality brushes are called "
829:regions, this technique is referred to as the
1175:differently, which creates assorted effects.
965:) is divided in separate "runs" for figures (
204:in Northern Europe, and by the height of the
976:
970:
906:normally used very firm supports, including
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1288:
1070:. Unsourced material may be challenged and
870:The earliest oil paintings were almost all
705:. Unsourced material may be challenged and
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325:. Unsourced material may be challenged and
224:, respectively, remained the usual choice.
216:in most of Europe, though not for Orthodox
185:allowed to dry before another is applied.
564:, but towards the end of the 15th century
1134:Learn how and when to remove this message
913:Traditional artists' canvas is made from
769:Learn how and when to remove this message
389:Learn how and when to remove this message
118:Learn how and when to remove this message
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1145:
859:
848:structure of the oil creates this water
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1876:"Theophilus: German writer and painter"
1809:European Synchrotron Radiation Facility
1388:The Anatomy Lesson of Dr. Nicolaes Tulp
2040:
1262:Artists in later periods, such as the
659:painting (a common approach in French
220:or wall paintings, where tempera and
196:and date back to the 7th century AD.
1919:
1068:adding citations to reliable sources
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703:adding citations to reliable sources
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323:adding citations to reliable sources
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56:adding citations to reliable sources
27:
1985:Contemporary Oil Painter's Handbook
1849:"Earliest Oil Paintings Discovered"
13:
1977:
227:Commonly used drying oils include
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472:) depicting Buddhist imagery in
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2004:. Comprehensive reference book.
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925:are slightly adjustable, while
43:needs additional citations for
1942:Borchert, Till-Holger (2008).
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1886:
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1841:
1823:
1797:
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1517:Charge in the Somosierra Gorge
898:, were often chosen for small
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1:
1983:Chieffo, Clifford T. (1976).
1961:Osborne, Harold, ed. (1970).
1892:Osborne (1970), pp. 787, 1132
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985:corresponds in height with a
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1937:General and cited references
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1244:Early Netherlandish painters
1158:Oil paint is made by mixing
513:Early Netherlandish painting
202:Early Netherlandish painting
145:using oil paints during the
7:
1965:. Oxford University Press.
1963:The Oxford Companion to Art
1910:Osborne (1970), pp. 787–788
1558:Bal du moulin de la Galette
560:Such works were painted on
10:
2064:
1865:Borchert (2008), pp. 92–94
1031:
902:even in the 19th century.
576:(a fine type of plaster).
456:
18:
1644:Les Demoiselles d'Avignon
1183:textures. Fitch hair and
856:Supports for oil painting
842:water miscible oil paints
338:"oil painting techniques"
1457:La Belle Strasbourgeoise
1367:The Raising of the Cross
1289:Examples of famous works
874:on wood, which had been
267:, such as pine resin or
1880:Encyclopedia Britannica
1703:Bella with White Collar
996:Although surfaces like
910:, or stiff paper card.
523:sources, in particular
1901:Osborne (1970), p. 787
1768:Osborne (1970), p. 787
1579:Portrait of Dr. Gachet
1462:Nicolas de Largillière
1234:
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800:itself comes from the
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568:began to be used as a
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537:Roger of Helmarshausen
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1998:Mayer, Ralph (1940).
1647:, Pablo Picasso, 1907
1563:Pierre-Auguste Renoir
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917:, but less expensive
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840:have produced modern
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2034:at Wikimedia Commons
1064:improve this section
699:improve this section
533:Theophilus Presbyter
319:improve this section
149:in the 15th century.
52:improve this article
2020:Introduction to Art
1502:Thomas Gainsborough
1477:The Toilet of Venus
1150:A traditional wood
904:Portrait miniatures
836:Recent advances in
542:De diversis artibus
1837:. 25 January 2008.
1661:The Kiss (Der KuĂź)
1346:The Rape of Europa
1304:Arnolfini Portrait
1238:adaptation of the
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147:Renaissance period
2030:Media related to
1993:978-0-131-70167-0
1987:. Prentice Hall.
1882:. 11 April 2024 .
1783:World Archaeology
1723:Motive from Tartu
1687:Wassily Kandinsky
1521:Piotr Michałowski
1372:Peter Paul Rubens
1311:, 1434 (on panel)
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519:Most European
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233:poppy seed oil
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67:"Oil painting"
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1073:
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1054:
1049:This section
1047:
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719:
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714:Find sources:
708:
704:
700:
694:
693:
689:
684:This section
682:
678:
673:
672:
664:
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661:Impressionism
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602:underpainting
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562:wooden panels
558:
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551:Robert Campin
548:
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500: 650 AD
489: 650 AD
482:
476:, Afghanistan
475:
470: 650 AD
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423:fat over lean
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350:
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340: –
339:
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334:Find sources:
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314:
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304:This section
302:
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292:
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63:Find sources:
57:
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41:This article
39:
35:
30:
29:
24:
23:
22:Oil on Canvas
2022:at Wikibooks
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1853:Live Science
1852:
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1825:
1813:. Retrieved
1808:
1799:
1787:. Retrieved
1782:
1773:
1764:
1741:
1722:
1708:Marc Chagall
1701:
1680:
1666:Gustav Klimt
1659:
1642:
1623:
1619:
1605:Paul CĂ©zanne
1598:
1577:
1556:
1542:Claude Monet
1535:
1516:
1497:The Blue Boy
1495:
1476:
1455:
1436:The Milkmaid
1434:
1407:
1386:
1365:
1344:
1323:
1309:Jan van Eyck
1302:
1283:conservation
1276:
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1097:
1090:
1078:
1062:Please help
1050:
1014:pressed wood
1002:wooden panel
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990:
986:
982:
966:
963:toile de 120
962:
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943:
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835:
833:technique.
795:
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739:
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697:Please help
685:
642:
630:
595:
559:
529:Jan van Eyck
518:
494:
434:paintbrushes
431:
427:
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385:
376:
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317:Please help
305:
269:frankincense
226:
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154:Oil painting
153:
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81:
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50:Please help
45:verification
42:
21:
1443:, 1658–1660
1421: 1650
1248:linseed oil
1240:egg tempera
1164:paint tubes
935:animal glue
896:printmaking
816:oil or the
798:linseed oil
790:linseed oil
667:Ingredients
586:printmaking
521:Renaissance
451:evaporation
417:, or other
261:consistency
229:linseed oil
212:paints for
210:egg tempera
206:Renaissance
194:Afghanistan
192:artists in
1971:019866107X
1946:. London:
1743:Nighthawks
1409:Innocent X
1279:dammar gum
1272:alla prima
1268:wet-on-wet
1094:newspapers
959:toile de 0
923:stretchers
852:property.
831:drying oil
826:Castor Oil
806:fiber crop
729:newspapers
610:wet-on-wet
443:turpentine
349:newspapers
287:Techniques
281:plasticity
249:turpentine
237:walnut oil
178:wood panel
166:drying oil
78:newspapers
1789:10 August
1756:Citations
1393:Rembrandt
1374:, 1610–11
1191:brushes (
1172:sulphides
1124:July 2024
1051:does not
1022:cardboard
987:paysage 1
927:strainers
846:molecular
838:chemistry
814:Safflower
786:Flax seed
759:July 2024
686:does not
657:plein air
638:Rembrandt
508:Silk Road
447:oxidation
411:Oil paint
379:July 2024
306:does not
198:Oil paint
138:Mona Lisa
2042:Category
1944:Van Eyck
1835:ABC News
1815:12 April
1668:, 1907/8
1205:squirrel
1185:mongoose
1160:pigments
1018:Masonite
998:linoleum
991:marine 2
983:0 figure
876:seasoned
850:miscible
547:Van Eyck
419:solvents
277:textures
257:pigments
190:Buddhist
162:pigments
158:painting
1948:Taschen
1928:: 7–71.
1330:Raphael
1224:fingers
1152:palette
1108:scholar
1072:removed
1057:sources
1032:Process
972:paysage
743:scholar
707:removed
692:sources
622:impasto
614:tempera
570:support
504:Bamiyan
474:Bamiyan
457:History
363:scholar
327:removed
312:sources
273:varnish
168:as the
92:scholar
1991:
1969:
1954:
1750:, 1942
1729:, 1937
1710:, 1917
1689:, 1913
1630:, 1906
1624:Venice
1607:, 1892
1586:, 1890
1565:, 1876
1544:, 1875
1523:, 1837
1504:, 1770
1483:, 1751
1464:, 1703
1395:, 1632
1353:, 1562
1351:Titian
1332:, 1516
1256:fresco
1193:weasel
1110:
1103:
1096:
1089:
1081:
1026:canvas
1020:, and
989:and a
978:marine
967:figure
919:cotton
889:Venice
885:canvas
881:Rubens
818:walnut
745:
738:
731:
724:
716:
649:studio
634:Titian
618:fresco
606:ground
598:glazes
591:fresco
578:Venice
566:canvas
555:glazes
525:Vasari
449:, not
365:
358:
351:
344:
336:
239:, and
222:fresco
182:copper
174:canvas
170:binder
94:
87:
80:
73:
65:
1189:sable
1180:brush
1115:JSTOR
1101:books
1010:slate
1006:paper
946:gesso
939:gesso
915:linen
908:ivory
810:Linen
750:JSTOR
736:books
574:gesso
370:JSTOR
356:books
265:resin
253:sheen
245:paint
218:icons
160:with
99:JSTOR
85:books
1989:ISBN
1967:ISBN
1952:ISBN
1817:2020
1791:2020
1219:type
1087:news
1055:any
1053:cite
931:size
802:flax
796:The
722:news
690:any
688:cite
616:and
549:and
342:news
310:any
308:cite
71:news
1066:by
824:or
820:or
701:by
604:or
502:in
321:by
180:or
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740:·
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82:·
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48:.
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