Oil painting

La donna velata, painted in 1516, Oil on wood panel painting by Raphael

Oil painting is done on surfaces with pigments that are ground and mixed into a medium of oil — especially in early modern Europe, linseed oil. Other oils occasionally used include poppyseed oil, walnut oil, and safflower oil. These oils give various properties to the oil paint, such as less yellowing or different drying times. Certain differences are also visible in the sheen of the paints depending on the oil. Painters often use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular feel depending on the mediums. A basic rule of oil paint application is 'fat over lean.' This means that each additional layer of paint should be a bit oilier than the layer below, to allow proper drying. Traditional oil painting techniques often begin with paint mixed with turpentine. As a painting gets additional layers, the paint must get oilier (leaner to fatter) or the final painting will crack and peel. There are many other painting mediums that can be used in oil painting, including cold wax, resins, and varnishes. These additional mediums 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 variable are closely related to the expressive capacity of oil paint. When looking at original oil paintings, the various traits of oil paint allow one to sense the choices the artist made as they applied the paint. For the viewer, the paint is still, but for the artist, the oil paint is a liquid or semi-liquid and must be moved 'onto' the painting surface. Traditionally, moving paint was accomplished with paint brushes, but there are other methods, including the palette knife, the rag, and even directly from the paint tube. Oil paint remains wet longer than many other types of artists' materials, so a reality in many painter's studios is the removal of oil paint from the painting. This can be done with a rag and some turpentine for a certain time while the paint is wet, but after a while, the hardened layer must be scraped. Many oil paintings reveal evidence of such scraping on close inspection, particularly when the surface itself is examined. Oil paint dries by oxidation, not evaporation, and is usually dry to the touch in a day to two weeks. It is generally dry enough to be varnished in six months to a year. Art conservators do not consider an oil painting completely dry until it is 60 to 80 years old.

Oil paint was probably developed for decorative or functional purposes in the High Middle Ages. 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.

Many Renaissance sources credit northern European painters of the 15th century with the "invention" of painting with oil media on wood panel — Jan van Eyck is often mentioned as the "inventor". The popularity of oil grew in 16th century Venice, where a water-durable medium was essential. Oil painting was ideal for the northern European painters, because the preferred fresco painting media did not work as well in their cooler climate. The linseed oil itself comes from the flax seeds, and this flax was a common fiber crop. Recent advances in chemistry have produced modern water miscible oil paints that can be used with and cleaned up with water. Small alterations in the molecular structure of the oil creates this water miscible property.

A still-newer type of paint, heat-set oils, remain liquid until heated to 265–280 °F (130–138 °C) for about 15 minutes. Since the paint never dries otherwise, cleanup is not needed (except when one wants to use a different color and the same brush). Although not technically true oils (the medium is an unidentified "non-drying synthetic oily liquid, imbedded with a heat sensitive curing agent"), the paintings resemble oil paintings and are usually shown as oil paintings.

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Aku Voda Painting

Aku Voda Painting

When design meet quality

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International shipping costs change regularly. Current rates to a particular destination can be given upon contacting us at info@modernpainting-gallery.com You are free to use your won broker if you so choose and we would be happy to assist with that in anyway. However, we must remind you that our trust and confidence in Aero Marine Trans has come from a very successful and reliable continuing business relationship. Aero Marine Trans is both reliable and efficient, while consistently offering the most competitive cargo shipping rates.

Painting on Frame

Painting on Frame
Icon on Wood

Icon on Wood
Acrylic Painting

Acrylic Painting
Trip Tic

Trip Tic

See also