Preamble
This is the eighteenth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Nainkage, durable press and wash-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Oil Painting - Part I [1]
All references to the so-called discovery of oil painting by one painter or one school of painters in an attempt to find a method that would revolutionize art have long been held to be fallacious. The drying properties of linseed, poppy, walnut, and hempseed oil were known to some of the earliest writers and instances of their application to paint are found quite frequently in early records and in accounts of expenditures of materials.
Description: From flax to linseed oil.
The use of such paint, however, was confined to commonplace or simple decorative purposes; no traditional methods for work of purely artistic pretensions were established until later times. From an examination of the old expense records, oil paint is seen to be have been widely used in England for decorative purposes at least as early as the thirteenth century.
Comment: Fayum Portrait of a Boy. Note: The earliest forms of panel painting were dossals (altar backs), altar fronts and crucifixes. All were painted with religious images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church, and the local town or diocese, or to the donor.
A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together.
Tempura painting was eminently successful in meeting the demands of the fourteenth- and fifteenth-century painters, but during the fifteenth century, when the demand and preference arose for a new type of easel painting that could not be produced by using the pure egg-yolk technique, or any other method then in use, the new materials and improved grades of older materials were at hand and were applied to produce these effects. Changes or innovations in techniques are more often attributable to changes in times and circumstances and the demands of changing art forms than to deliberate individual creative departures.
Comment: A section of the earliest discovered oil paintings (~ 650AD) depicting buddhist imagery in Bamiyan, Afghanistan.
Comment: One of the first oil paintings by Jan van Eck - The Arnolfini Portrait (AD 1434).
Material: Oil on panel.
Size: 82 x 59.5 cm.
The fifteenth- and sixteenth-century paintings of the kind innovated by Flemish artists soon after 1400 and referred to by Vasari and other older writers as oil paintings were, for the most part, precisely the sort of works we call tempera paintings today when referring to tempera in the highest stage of development, and some were produced by employing alternate coats of tempera and oily or resinous mediums as in accepted tempera variations.
In the paintings of the late 1400s and early 1500s there is a use of various forms of “mixed media”: the oil could be emulsified with egg thus taking the name of “tempera grassa”, or layers of tempera could be superimposed on oil backgrounds or oil layers on tempera backgrounds and the different techniques could also be used in different areas of the same painting. In general, the light backgrounds such as skies and skin tones were made with egg tempera, while the darker and more transparent shades of reds, blues and greens were obtained with binders based on siccative oils.
Below are the various stages of development of a mixed media painting.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the eighteenth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Nainkage, durable press and wash-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Oil Painting - Part I [1]
All references to the so-called discovery of oil painting by one painter or one school of painters in an attempt to find a method that would revolutionize art have long been held to be fallacious. The drying properties of linseed, poppy, walnut, and hempseed oil were known to some of the earliest writers and instances of their application to paint are found quite frequently in early records and in accounts of expenditures of materials.
The use of such paint, however, was confined to commonplace or simple decorative purposes; no traditional methods for work of purely artistic pretensions were established until later times. From an examination of the old expense records, oil paint is seen to be have been widely used in England for decorative purposes at least as early as the thirteenth century.
Comment: Fayum Portrait of a Boy. Note: The earliest forms of panel painting were dossals (altar backs), altar fronts and crucifixes. All were painted with religious images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church, and the local town or diocese, or to the donor.
A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together.
Tempura painting was eminently successful in meeting the demands of the fourteenth- and fifteenth-century painters, but during the fifteenth century, when the demand and preference arose for a new type of easel painting that could not be produced by using the pure egg-yolk technique, or any other method then in use, the new materials and improved grades of older materials were at hand and were applied to produce these effects. Changes or innovations in techniques are more often attributable to changes in times and circumstances and the demands of changing art forms than to deliberate individual creative departures.
Material: Oil on panel.
Size: 82 x 59.5 cm.
The fifteenth- and sixteenth-century paintings of the kind innovated by Flemish artists soon after 1400 and referred to by Vasari and other older writers as oil paintings were, for the most part, precisely the sort of works we call tempera paintings today when referring to tempera in the highest stage of development, and some were produced by employing alternate coats of tempera and oily or resinous mediums as in accepted tempera variations.
In the paintings of the late 1400s and early 1500s there is a use of various forms of “mixed media”: the oil could be emulsified with egg thus taking the name of “tempera grassa”, or layers of tempera could be superimposed on oil backgrounds or oil layers on tempera backgrounds and the different techniques could also be used in different areas of the same painting. In general, the light backgrounds such as skies and skin tones were made with egg tempera, while the darker and more transparent shades of reds, blues and greens were obtained with binders based on siccative oils.
Below are the various stages of development of a mixed media painting.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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