HISTORY OF INDIAN OIL PAINTING

INDIAN OIL PAINTING HISTORY :-
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   The history of oil paint was traced to western Afghanistan sometime between the 5th and 9th Centuries
and it gained popularity during the 15th century. Its practice likely migrated westward during the
middle ages.

   Oil paint eventually became the principal medium used for creating art works, as its advantages became widely known.
Renaissance oil painting techniques when used in Indian oil paintings had almost completely replaced tempera paints
in the majority of Europe. Traditional oil painting techniques begin with the artist sketching the figure onto
the canvas with charcoal or a  which is thinned paint.

    Oil paint is then mixed with turpentine, linseed oil, artist grade mineral spirits or other solvents to create a
thinner and faster drying paint. The artist then constructs the figure in different layers.
There is a basic rule for the application of oil paint which is,fat over lean.

    This means that each extra layer of paint should be a bit oilier than the layer below, to allow proper drying.
With getting more and more layers, the oil paint gets oilier (leaner to fatter) or the ultimate painting will
peel or crack.


Use of oil in paintings :-
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   Painting by using oil is the process of painting with pigments that are mixed with a medium of drying oil
or the linseed oil, available in early modern Europe. Often this linseed oil was boiled with a resin such as
pine resin or even frankincense; these were called varnishes and were valued for their body and gloss.
Other oils occasionally used in Indian oil paintings include  walnut oil, and safflower oil. Oils
provide several properties to the paint like less yellowing or varied drying times.

   There are some differences seen in the shininess of the paints according to the oil used.
Different oils are often being used by oil painters in a particular painting depending on
certain pigments and the desired effects. Oil paints also develop a specific feel with
regard to the medium.




   There are many other painting media that are lately being used in Indian oil paintings,
including cold wax, resins, and varnishes. These media can help a painter to adjust the
translucency of his or her paint, the luster of the paint, the body or density of the paint,
and the capacity of the paint to grasp or conceal the brushstroke. These are closely linked
with the expressive power of oil paint. When looking at original oil paintings, the various
traits of oil paint allow viewer to sense the choices the artist made as they applied the paint.
The paint is still for a viewer and for an artist oil paint is a semi-liquid or a liquid which
should be moved the oil painting.

    Usually, the oil paint was transferred to the painting surface using paintbrushes, but there are other methods, including the use of palette knives, rags, etc. Oil paintings stay wet for a longer duration than various other types of materials of the artists, thus helping the artist to alter the texture or form and colour of the figure
if required. Sometimes a painter also removes the whole paint layer and starts afresh. It is done with the help of a rag and a small quantity of turpentine oil for some time when the paint is wet, however after some time, the layer which is hardened should be scraped. Scraping may also be used to make a portrait smooth before glazing and scumbling.
A number of oil paintings display proof of scraping if closely examined, mainly after examining the surface. Oil paint
often dries by oxidation, not evaporation, and is usually dry to the touch in a day to two weeks and is usually dry enough to be varnished in six months to a year. Art experts do not consider an oil painting completely dry until it is sixty to eighty years old.

some more oil painting

Oil painting :- =============== Oil painting is the process of painting with pigments that are bound with a medium of drying oil. Commonly used drying oils include linseed oil, poppyseed oil, walnut oil, and safflower oil. The oil may be boiled with a resin, such as pine resin or frankincense to create a varnish; often prized for its body and gloss. Different oils confer 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. 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. History :- ========== Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan.[2][3][4][5] Surfaces for outdoors and those 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 a wood panel support ("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. Early Netherlandish painting in the 15th century was, however, 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, led the move. Small cabinet paintings were also made on metal, especially copper plates. These were more expensive but very firm, allowing very fine detail; often printing plates from printmaking were reused. 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 fresco for wall paintings, which was less successful and durable in damper Northern climates. Ingredients............. Supports for oil painting :- ============================ 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 first and second 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 (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk......... 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, led the move. Small cabinet paintings were also made on metal, especially copper plates. These were more expensive but very firm, allowing very fine detail; often printing plates from printmaking were reused. 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 fresco for wall paintings, which was less successful and durable in damper Northern climates. Process :- =========== Oil paint is made by mixing pigment containing the color with oil. Different colors are made up, or today bought pre-mixed, before painting begins, but further shades of color are usually obtained by mixing small quantities together as the painting process is underway, traditionally on an artist's palette, a thin wood board held in the hand. Pigments may be any number of natural or synthetic substances with color, such as sulphur for yellow or cobalt for blue. Traditional pigments were based on minerals or plants, and many have proved unstable over a very long period, so that many old paintings look very different to their original appearance. Modern pigments often used synthetic chemicals. The pigment is mixed with oil, usually linseed oil but other oils may be used as well. The various oils dry differently, creating assorted effects. The artist most often uses a brush to apply the paint, often over a sketched outline of their subject in another medium. Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog's 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 mink. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas); this is known to artists as a brush's "snap.".....................

egipty oil painting

Oil painting :- =============== Oil painting is the process of painting with pigments that are bound with a medium of drying oil. Commonly used drying oils include linseed oil, poppyseed oil, walnut oil, and safflower oil. The oil may be boiled with a resin, such as pine resin or frankincense to create a varnish; often prized for its body and gloss. Different oils confer 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. 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. History :- ========== Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan.[2][3][4][5] Surfaces for outdoors and those 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 a wood panel support ("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. Early Netherlandish painting in the 15th century was, however, 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, led the move. Small cabinet paintings were also made on metal, especially copper plates. These were more expensive but very firm, allowing very fine detail; often printing plates from printmaking were reused. 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 fresco for wall paintings, which was less successful and durable in damper Northern climates. Ingredients............. Supports for oil painting :- ============================ 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 first and second 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 (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk......... 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, led the move. Small cabinet paintings were also made on metal, especially copper plates. These were more expensive but very firm, allowing very fine detail; often printing plates from printmaking were reused. 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 fresco for wall paintings, which was less successful and durable in damper Northern climates. Process :- =========== Oil paint is made by mixing pigment containing the color with oil. Different colors are made up, or today bought pre-mixed, before painting begins, but further shades of color are usually obtained by mixing small quantities together as the painting process is underway, traditionally on an artist's palette, a thin wood board held in the hand. Pigments may be any number of natural or synthetic substances with color, such as sulphur for yellow or cobalt for blue. Traditional pigments were based on minerals or plants, and many have proved unstable over a very long period, so that many old paintings look very different to their original appearance. Modern pigments often used synthetic chemicals. The pigment is mixed with oil, usually linseed oil but other oils may be used as well. The various oils dry differently, creating assorted effects. The artist most often uses a brush to apply the paint, often over a sketched outline of their subject in another medium. Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog's 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 mink. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas); this is known to artists as a brush's "snap.".....................

History of oil paintings

Oil painting :- 

=========

 Oil painting is the process of painting with pigments that are bound with a medium of drying oil. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The oil may be boiled with a resin, such as pine resin or frankincense to create a varnish; often prized for its body and gloss. Different oils confer 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. 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.

History :- 

======

Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan.[2][3][4][5] Surfaces for outdoors and those 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 a wood panel support ("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. Early Netherlandish painting in the 15th century was, however, 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, led the move. Small cabinet paintings were also made on metal, especially copper plates. These were more expensive but very firm, allowing very fine detail; often printing plates from printmaking were reused. 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 fresco for wall paintings, which was less successful and durable in damper Northern climates. Ingredients............. 

Supports for oil painting :- 

==================

 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 first and second 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 (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk......... 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, led the move. Small cabinet paintings were also made on metal, especially copper plates. These were more expensive but very firm, allowing very fine detail; often printing plates from printmaking were reused. 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 fresco for wall paintings, which was less successful and durable in damper Northern climates. 

 Process :- 

======= 

Oil paint is made by mixing pigment containing the color with oil. Different colors are made up, or today bought pre-mixed, before painting begins, but further shades of color are usually obtained by mixing small quantities together as the painting process is underway, traditionally on an artist's palette, a thin wood board held in the hand. Pigments may be any number of natural or synthetic substances with color, such as sulphur for yellow or cobalt for blue. Traditional pigments were based on minerals or plants, and many have proved unstable over a very long period, so that many old paintings look very different to their original appearance. Modern pigments often used synthetic chemicals. The pigment is mixed with oil, usually linseed oil but other oils may be used as well. The various oils dry differently, creating assorted effects. The artist most often uses a brush to apply the paint, often over a sketched outline of their subject in another medium. Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog's 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 mink. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas); this is known to artists as a brush's "snap.".....................

oil painting......