Oil paint also had the capacity to be blended and manipulated on the surface of the painting, and its transparency allowed for a far greater range of tones and resonant colors.
The transition from egg tempera to oil paint in Northern Europe, and then in Italy toward the end of the fifteenth century, produced many examples of paintings in which the preliminary work was done in egg tempera, while later stages, such as thin transparent glazes, were applied in oil color. There are also examples of works in which egg and oil are contained in the same layer.
Although the Dutch van Eyck brothers are popularly credited with the discovery of oil painting in the early fifteenth century — Jan van Eyck b. Painters in Italy began to copy the Netherlandish way of modeling the underpainting in opaque colors, and then applying rich transparent glazes. In Venice, Giovanni Bellini c. Oil has been used in this most famous of 15th-century portraits, though there may be egg tempera in the underpainting.
With this new medium, van Eyck achieved an extraordinary range of tones, with deep shadows and clear bright lights. He often worked first on an egg tempera underpainting, with its characteristic cross-hatched modeling, but the use of oil in the later stages of painting gave his figures an almost tangible existence. Perugino c. Raphael sustained the purity of the whites and blues in his skies by using the less yellowing walnut oil as a binding medium, rather than the linseed oil he used with other colors.
By the first decade of the sixteenth century, oil paint had become universally established as the prime painting medium in Italy. It is with later Venetian painters, such as Titian c. That these artists were now using oil paint exclusively had much to do with this new freedom of expression, for its flexibility allowed them to take a looser approach, not only in initial stages, but throughout the whole painting process.
By the seventeenth century, it was common for painters to work in an economical style on a colored surface that provided the mid-tones, while opaque colors were added for lights, and thin transparent darks for shadows. Rembrandt often used double grounds on his canvases, with an underlayer of red bole clay , or red ochre and a layer of gray or brown on top. His images often seem to be sculpted in relief out of the dark ground.
Rubens worked similarly, but often prepared a warm yellow-brown layer that he applied with a bristle brush over a white priming. This underlayer helped him to create images more freely, giving more expression to his painting style.
Oil paintings from the seventeenth to the nineteenth centuries reveal some complex layer structures — and can include complicated materials. Later work on a painted crucifix from the ancient stave church at Hemse, on the island of Gotland, Sweden, dated to about , showed evidence of drying oils being used on that as well. I believe that crucifix is shown here. Not only were these true artistic paintings, but examination of the structure of their paint layers has shown the use of glazes much as in classical and modern oil painting technique.
In , it was claimed that caves in Afghanistan, near the Bamiyan buddhas which were destroyed by the Taliban in , contained even earlier oil paintings, dated to around AD. However the drying oils, most probably walnut and poppyseed, found there appear with a wide range of other media and materials including plant resins, and it remains to be seen how extensively drying oils contributed to the paintings as a whole. There is also no evidence that the techniques used there were disseminated beyond Afghanistan, or continued in use within that region.
For once the Classical world of the Greeks and Romans does not seem to have been there first. Although they did experiment with the use of non-drying olive oil, there does not appear to be any evidence of drying oils forming the medium for any early Mediterranean paintings.
There have long been controversies about innovations which might have been introduced by the van Eyck brothers, Jan and Hubert, or secret recipes which they used to advantage in their remarkable works. Beyond the Ghent Altarpiece, , Archetype Publications. She concludes that the works of the van Eycks are similar in materials to those of other early Netherlandish artists, and those immediately before them.
However it is clear that the painting and other workshop practices of the van Eycks were sophisticated, and usually but not always involved multilayer paints, including glazes. With this new medium, painters could enjoy the qualities of oil paint without having to use turpentine or solvents. If you would like to check this out, it will be attached to the May Creative Connection.
So oil paint still has a big future, and is, and will continue to be, enjoyed for many years to come.
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