Oil painting - wikipedia Oil painting `` Oil on canvas '' redirects here. For the album, see Oil on Canvas. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. ( September 2011 ) Mona Lisa, Leonardo da Vinci, c. 1503 -- 06 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, 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 use of tempera paints in the majority of Europe. 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 Self - portrait, at work, Anders Zorn, 1897 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 grade mineral 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 usually dry to the touch within a span of two weeks ( some colors dry within days ). It is generally dry enough to be varnished in six months to a year. History Self - portrait of Rembrandt, 1630. An example of oil painting on copper. 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. 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 used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. However, early Netherlandish painting in the 15th century was the first to make oil the usual 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 of gesso ( 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 - based fresco for wall paintings, which was less successful and durable in damper northern climates. Ingredients Flax seed is the source of linseed oil. 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 water miscible 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 ) Supports for oil painting Splined canvas 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 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 a paysage 1 and a marine 2. 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 A traditional wood palette used to hold and mix small amounts of paint while working. 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 differently, 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 quality brushes are called `` kolinsky sable '' ; these brush fibers are taken from the tail of the Siberian weasel. 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 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 their fingers. Tubes of paint 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 '' 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. Examples of famous works Arnolfini Portrait, Jan van Eyck, 1434 ( on panel ) La donna velata, Raphael, 1516 The Rape of Europa, Titian, 1562 The Raising of the Cross, Peter Paul Rubens, 1610 -- 11 The Anatomy Lesson of Dr. Nicolaes Tulp, Rembrandt, 1632 Innocent X, Velázquez, c 1650 The Milkmaid, Johannes Vermeer, 1658 - 1660 The Toilet of Venus, François Boucher, 1751 The Blue Boy, Thomas Gainsborough, 1770 Battle of Somosierra, Piotr Michałowski, 1837 Woman with a Parasol - Madame Monet and Her Son, Claude Monet, 1875 Bal du moulin de la Galette, Pierre - Auguste Renoir 1876 Portrait of Dr. Gachet, Vincent van Gogh, 1890 The Cardplayers, Paul Cézanne, 1892 The Old Guitarist, Pablo Picasso, 1903 Les Demoiselles d'Avignon, Pablo Picasso, 1907 Composition VII, Wassily Kandinsky, 1913 Bella with White Collar, Marc Chagall, 1917 References Jump up ^ Barry, Carolyn. `` Earliest Oil Paintings Found in Famed Afghan Caves ''. National Geographic Society. Retrieved 7 January 2013. Jump up ^ `` Rediscovering treasures of Bamiyan ''. BBC News. 17 July 2008. Retrieved 20 May 2010. Jump up ^ Afghan caves hold world 's first oil paintings : expert -- ABC News ( Australian Broadcasting Corporation ) Jump up ^ Earliest Oil Paintings Discovered Jump up ^ Sciencemage.org, Science Magazine 2 May 2008 Jump up ^ Haaf, Beatrix ( 1987 ). `` Industriell vorgrundierte Malleinen. Beiträge zur Entwicklungs -, Handels - und Materialgeschichte ''. Zeitschrift für Kunsttechnologie und Konservierung. 1 : 7 -- 71. Wikibooks has a book on the topic of : Introduction to Art Wikimedia Commons has media related to Oil paintings. Further reading Chieffo, Clifford T. : Contemporary Oil Painter 's Handbook, Prentice Hall, 1976. The Artist 's Handbook of Materials and Techniques, comprehensive reference book by Ralph Mayer ( 1940 ) Early Netherlandish art ( c. 1420s -- 1530s ) Early Netherlandish artists Active mainly in the Southern Netherlands ( mostly present - day Belgium ) Luís Alimbrot Alexander Bening Simon Bening Ambrosius Benson Lancelot Blondeel Aelbert Bouts Dieric Bouts Melchior Broederlam Robert Campin Petrus Christus Pierre Coustain Jacques Daret Gerard David Jean Delemer Jan de Beer Colijn de Coter Jan Gossaert Gerard Horenbout Lucas Horenbout Adriaen Isenbrandt Cornelis Liefrinck Lambert Lombard Simon Marmion Quinten Matsys Hans Memling Joachim Patinir Jan Provoost Aert van den Bossche Hugo van der Goes Vrancke van der Stockt Goswin van der Weyden Rogier van der Weyden Jan van Dornicke Hubert van Eyck Jan van Eyck Justus van Gent Lieven van Lathem Bernard van Orley Jacob van Utrecht Master of Affligem Master of the Antwerp Adoration Master of the Embroidered Foliage Master of the Legend of St. Barbara Master of the Legend of Saint Lucy Master of the Legend of St. Ursula ( Bruges ) Master of the Legend of the Magdalen Master of the Lille Adoration Master of the Lübeck Bible Master of the Mansi Magdalen Master of the Morrison Triptych Master of the Prodigal Son Master of the View of Ste - Gudule Active mainly in the Northern Netherlands ( mostly present - day Netherlands ) Hieronymus Bosch Geertgen tot Sint Jans Jan Joest van Calcar Lucas van Leyden Jacob Cornelisz van Oostsanen Master of Alkmaar Master of the Amsterdam Death of the Virgin Master of the Figdor Deposition Main centres Antwerp Bruges Brussels Ghent Tournai The Hague Pioneering innovations Regular use of oil paints as a principal art medium Oil painting techniques ( oil on panel, glaze, wet - on - wet ) Genre art ( genre painting ) Landscape art ( world landscape ) Portraiture ( portrait painting ) Naturalism ( art ) Realism ( art ) General Early Netherlandish painting Works by Early Netherlandish masters Flemish Primitives Arts in the court of Philip the Good Guild of Saint Luke Members of the Guild of Saint Luke Netherlandish art International Gothic Northern Renaissance Netherlandish Renaissance Northern Mannerism Antwerp Mannerism Antwerp school Ghent - Bruges school Adoration of the Magi Nativity of Jesus in art Influenced Italian Renaissance painting German Renaissance painting Dutch and Flemish Renaissance painting Dutch Golden Age painting Notable connoisseurs and scholars Egbert Haverkamp - Begemann Till - Holger Borchert Lorne Campbell Max Jakob Friedländer Craig Harbison Karel van Mander Erwin Panofsky Giorgio Vasari Gustav Friedrich Waagen Retrieved from `` https://en.wikipedia.org/w/index.php?title=Oil_painting&oldid=805939153 '' Categories : Painting Hidden categories : Use dmy dates from July 2012 Articles needing additional references from September 2011 All articles needing additional references Talk Contents About Wikipedia Alemannisch Asturianu Azərbaycanca বাংলা Bân - lâm - gú Беларуская Беларуская ( тарашкевіца ) ‎ Brezhoneg Català Čeština Dansk Deutsch Eesti Ελληνικά Эрзянь Español Esperanto Euskara فارسی Français Gaeilge Galego 한국어 हिन्दी Bahasa Indonesia Italiano עברית Basa Jawa ಕನ್ನಡ ქართული Latviešu Lietuvių Lumbaart Magyar മലയാളം मराठी Bahasa Melayu 日本 語 Norsk Norsk nynorsk Polski Português Română Русский Scots Seeltersk Slovenščina Српски / srpski Srpskohrvatski / српскохрватски Suomi Svenska தமிழ் తెలుగు ไทย Українська اردو Tiếng Việt 粵語 中文 Edit links This page was last edited on 18 October 2017, at 16 : 25. 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Question: what type of paper is used for oil painting
Answer: canvas