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Know here about Oil Painting 

Oil paints are one of the most popular artistic mediums. They’re adaptable, archival, and cost-effective. Oil paint is made composed of coloured pigment that has been crushed up and suspended in a drying oil. The quality of oil paint is determined by the pigment used, the fineness of the pigment, and the medium utilised. It’s difficult to trace the origins of oil painting in the realm of art. Long before oil paints were a stand-alone medium, people mixed oils into their paints. Oil paints, unlike acrylic paints, dry by oxidation, which means the paint progressively changes from liquid to gel before becoming thick. Oil paintings are adaptable and work well in a variety of settings, including the home and business.

Oil painting, on the other hand, might be difficult to learn. There are various “rules” you need be aware of, and learning the techniques can take some time.

Oil painting and its rules:

To keep your paint from cracking, there are a few “rules” to follow when painting with oil.

Fat over lean: As previously stated, oil paint is essentially coloured pigment held together by a drying oil. The more oil in the paint, the “fatter” it becomes and the slower it dries. In general, the upper layers of paint should be fatter (or oilier) than the lower layers. Otherwise, the top layers will dry faster than the bottom layers, causing the paint to break.

Thick over thin: This rule follows the same logic as the last one. You want the paint on the top to dry slower than the paint on the bottom. Thick paint takes longer to cure than thin paint.

Oil painting techniques:

Oil paintings are admired by people all around the world. They give the interior of the house a luxurious appearance. Here are some of the most well-known oil painting techniques.

•Chiaroscuro 

With this technique, there is a contrast between the light and dark shades of the painting. You will often notice this technique in dramatic paintings where the focus is on one object. 

•Scumbling 

This is a technique in which artists use a stiff brush to make thin layers on the canvas. Such paintings do not have a soft finish and give a rough look. 

• Alla Prima 

Alla Prima, also known as the wet-on-wet technique was the favourite of world-renowned artists like Van Gogh. In this painting, there are several layers, one on top of the other. 

•Glazing 

Glazing is the technique of adding a transparent layer on the base layer to give the painting a beautiful shine.

•Underpainting

Artists who do not like to paint on the canvas directly use this technique. 

•Impasto

Impasto is a technique that requires great efficiency as it uses thick layers of c olors on the canvas. 

Canvas for oil painting:

A canvas composed of fine European linen with a firm close weave is the typical support for oil painting. This canvas is cut to size and stretched across a frame, usually made of wood, to which it is fixed with tacks or, since the twentieth century, staples. A primer or ground is applied and let to dry before painting to limit the absorbency of the canvas cloth and to obtain a flat surface. Gesso, rabbit-skin glue, and lead white are the most widely used primers. A hardwood or processed paperboard panel, sized or primed, can be utilised if rigidity and smoothness are needed above springiness and texture. Many alternative supports have been attempted, including paper, various fabrics, and metals.

History of oil painting:

Oil painting dates back to at least the 7th century CE, when anonymous artists used oil produced from walnuts or poppies to decorate the ancient cave complex in Bamiyan, Afghanistan, as discovered in 2008. Oil as a painting medium, on the other hand, is only mentioned in Europe as early as the 11th century. Easel painting with oil colours, on the other hand, is a direct descendant of tempera painting techniques used in the 15th century. After 1400, advances in linseed oil refining and the availability of volatile solvents coincided with a need for a medium other than pure egg-yolk tempera to fulfil the Renaissance’s shifting demands. To glaze tempera panels created with their usual linear draughtsmanship, oil paints and varnishes were utilised at first. This is how, for example, the technically stunning, jewel-like portraits of 15th-century Flemish painter Jan van Eyck were created.

Before the nineteenth century, most oil paintings were built up in layers. The first layer was a ground, which was a blank, uniform field of thinned paint. The ground softened the primer’s harsh white and gave a nice colour base on which to add images. The painting’s shapes and items were then roughly blocked in with hues of white, grey or neutral green, red, or brown. The underpainting was the name given to the monochromatic light and dark masses that resulted. Scumbles, which are uneven, thinly placed layers of opaque pigment that can impart a range of graphic effects, were used to further define forms. Glazes, or transparent coatings of pure colour, were utilised in the last step to give the forms brightness, depth, and brilliance, and highlights were accentuated with thick, rough patches of paint called impastos.

Oil paint became the primary painting medium in Venice during the 16th century. Venetian artists had mastered the application of repeated layers of glazes by the end of the century, demonstrating their mastery of the fundamental qualities of oil painting. After a long period of growth, linen canvas has surpassed timber panels as the most popular support.

Diego Velázquez, a Spanish painter in the Venetian tradition whose highly economical yet informative brushstrokes have often been imitated, especially in portraiture, was one of the masters of the oil method in the 17th century. The way the Flemish painter Peter Paul Rubens filled his light colours, opaquely, in contrast to thin, transparent darks and shadows impacted later painters. Rembrandt van Rijn, a Dutch painter, was a third great 17th-century master of oil painting. A single brushstroke can successfully portray shape in his work, while cumulative strokes create remarkable textural depth by blending rough and smooth, thick and thin. Glazed effects, blending, and precisely controlled impastos add to a system of loaded whites and clear darks.

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