Mattel
The oil-base paint is a medium of painting, which uses a mixture of Pigment S and siccative Huile, making it possible to obtain a more or less consistent paste. Oil used is generally the Linseed oil or the Poppyseed oil.
The oil-base paint dries more slowly than the acrylic Peinture and makes it possible to better mix the Couleur S or to recover a defect more easily.
What one calls drying, is actually a Oxydation oil which hardens, without changing the aspect of work, and to some extent, imprisons the pigments and allows the conservation of painting.
It is also possible to obtain effects of matter or reliefs with a rather consistent paste. The use of a Spatule called also knife makes it possible for example to obtain relief and to thus increase the matter of work.
Technique
The painter S always used, to fix the colors, of the agglutinant matters, like the Gomme S, the Colle of skin, the egg, the Cire, the Chaux, etc Towards the end of the Moyen-âge, one found the process of siccative oil, and the brothers Van Eyck were the first to apply with control the novel method. Until the 20th century, painters, or their pupils, crushed themselves the colors, pigments out of powder, with the Linseed oil or the Poppyseed oil, which are siccative and remain transparent while drying, they employed them at once and did not have, like today, the facility to buy tubes of very prepared color, crushed mechanically generally.The technique remained a long time immutable: the painter drew on the fabric or on the prepared wood or copper panel, painted in greyness, in thin layer, on this Dessin, by giving the light effect by the play of the shades and of the reflections, then, once this first sleeps quite dry, recovered it tinted glacis, transparent, giving coloring. The whole formed a quite plain surface, like an oil-cloth. Then the daring ones dared to accentuate the lights in their giving a thickness, this process became general, and from novel methods were born, painting in full paste, by separated keys, with or without preparatory outline, the theories of Chevreul, the discoveries of the physicists créerent a movement from where the Pointillisme left, with the decomposition of each tone tons some primary, like that of solar light by the prism in coloured spectrum. Many techniques, theories, schools were born and it is born from it constantly from news.
For the beginner who does not know anything, it is to better learn a rather simple technique, which makes it possible to paint what one sees, as one sees it, and who will be able, thereafter, the being abandoned and replaced by another in conformity with the taste, the temperament and the creativity of the artist.
The oil-base paint can be also manufactured at home. Taking into account the price to which it is sold in the trade, this technique can prove very interesting for beginners or funds to be made on large fabrics. It is necessary for that to use special pigments of color, mixed with ingredients of kitchen (flour, vinegar, egg yolks, soft white cheese, honey… according to the receipts). It is to generally better use this painting on rigid supports, standard hard-bound fabric, wood, plywood, etc
Traditions
The oil-base paint, such as invented the Dutchmen - whose Jan van Eyck, rests on principles simplified by progress of the technique. It is not necessary any more to do everything with the hand, since the preparation of the supports to the mixture of the colors, nor to carry out a round the world tour and to bring back basic commodities of them; finally no one is not need to torture a Master of workshop to extract some secrecy from it. The handbooks are very didactic and the perfectly documented hardware stores. The material of painting represents a large market which rests on an also plethoric supply and.
The binder connects as its name lets it suppose, the elements coloured between them - called pigments. In this case it is containing purified linseed oil. One can improve the paste with resins. Van Gogh itself used this process, as a large technician.
The medium makes this paste initial more malleable and thus easier to spread out. It is containing oil which one calls “fat” and of gasoline that one will say “thin” by opposition. Indeed, the linseed oil is much fattier than the Spirits of rectified turpentine. If one uses the poppyseed oil and the Essence of oil, the shift is the same one.
The varnished is a complex of the medium type, whose definition would deserve a chapter with him all alone.
The tradition wants that one starts by defining a clean and adequate support, which varies paper with the fabric of flax, duly glossy with the acrylic resin or famous Gesso, and that one nourishes this support of successive layers as they dry. And more one advances, more the layers are fatty. The explanation in is very simple. The thin layers spend less time to dry definitively. They would enter in conflict with the preceding ones if they were fattier because they would trail to retract in their turn, from where a variable phenomenon enters the orange skin and that of the reptile during the moult… To avoid, according to the traditions.
This phenomenon included/understood well, the problem remains whole: the fabric is still virgin. According to the tradition, it is good to arrive in front of the support with a project or with the rigor: a great determination.
Two major approaches
Born from the traditional workshops and the large sizes such as they furnish our museums, the tradition remains the referential base of many painters. The pictorial layers of the table are numerous and exploit the transparencies of certain pigments, allied with that, more obvious, of médiums. They are called “juice”, “glacis”, “vellatures”… In opposition to “paste”, “matter”, “load”… This tradition gives to the oil-base paint all its subtlety and its depth. The light can, if it is well built on a learnedly prepared support, leave the bottom of the table, because of place which will have been reserved to him throughout the execution.The traditional oil of workshop implies an implementation long and capricious, whose secrecies are sealed above all by the genius of the famous artists who gave him his prestigious statute. If the contour of Vermeer remains a mystery, is this because of a process or of an incomparable lightness? Are the lights of Vinci calculated or miraculous? Do the keys of Degas have a direction or an inspiration? It is works in front of which inevitable “it is because” becomes dumb.
The other way of undertaking oil is much more recent and dates from the invention of the tube by the industry of the Peinture. Allured by this innovation, the artists have escaped with the interior clearing of their workshop to join that of wood. Some constraints accompanied them: that of the format to be transported - to the outward journey and to the return, and that of time Stopwatches. They had to create a technique to seize the reason in its fugitive coherence. The precedents of the kind held more Esquisse and preparatory draft that completed work. They reinvented “the key”, only means of returning and the color and the possible light in only once. Impressionism, Pointillisme, Post-impressionism, Fauvisme, Expressionnisme, all these currents did not cease exploring the limits of the oil-base paint known as went PRIMA - in other words first layer.
The reflection on painting evolved/moved considerably. The technique and its control lost part of the prestige which they had gained during many centuries of history. By the fact of a shift. Probability had taken more importance than the pictorial direction in the appreciation of the kind. The revolution of the Modern art constitutes a return of the direction beyond the means, over technical capability to represent the world. Later, this debate of the direction and the means will reappear in another form, at the end of the abstraction: when the subject “is exceeded”, there remains only the question of the tool.
History
The invention of the oil-base paint is allotted to the Dutch painter Jan van Eyck (1375 - 1440), but the process consisting in mixing the pigments in oil was already known of Theophilus at the 13th century.
The first tables with the oil, which could be extracted the Lavande, of the aspic, the Pavot or the Noix, were painted on wood panels. The panels were impregnated several layers of adhesive and coating, then they were strengthened of a fine fabric in order to limit the effects of dilation or retraction of wood. The disadvantage of this technique was that the dimension of the tables was relatively limited.
It is as from the 15th century that the use of cloth-lined frames makes its appearance. The fabric most usually used is the flax. It must be covered with a coat of plaster which makes it possible painting to cling.
Manufacture and storage of the color the oil
The color the oil is manufactured by mixing closely the Pigment S already reduced to the powder state with the Liant. This action names crushing of the colors.
At the beginning, the artists crushed themselves the colors in their workshop right before using them. They did not have a means of preserving these colors very a long time.
At the beginning of the 19th century bladders of pig intended appeared to contain and preserve the colors the oil. The tin tubes were invented towards 1840. These new containers were much more practical than the bladders of pig and made it possible to preserve the intact colors longer. It is thanks to the tin tubes that the impressionist painters could leave their workshop to go to paint their landscapes on the reason , i.e. in nature.
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