n elegerea re ete istorice pentru modificarea de ulei de in

La comprhension de l'historique des recettes pour la modification de l'huile de lin

index
introducere ............................................................................................................................
............. 5
Motiva ia ...............................................................................................................................
........ 5
Probleme i metode de cercetare
..................................................................................................... 7
structura .................................................................................................................................
.........
Locul de cercetare
.............................................................................................................................. !
Mul umiri ......................................................................................................................... !
". #ntroducerea istoric$ i punerea %n aplicare a uleiurilor din semin e de in modificate
....................................... "" .....
"." de ulei fa $ de ou
.......................................................................................................................... ""
".& de uscare i procesul de %mb$tr'nire a uleiului ca un liant %n filmul de vopsea
.............................. "(
")( re ete istorice pentru generarea i modificarea de uleiuri din semin e de in
.................................... "*
".* #ntroducerea istoric$ de re ete pentru modificarea de ulei de in ............................... &(
".5 Pe disponibilitatea i premiile de materiale de pictura .........................................
....................... &*
".+ Punerea %n aplicare a uleiuri modificate pe picturi medievale t'r,ii
........................................ &7 ...........
-ne. L'introduction historique et l'application des huiles de lin modifis
....................................... "" .....
"." .uile contre oeuf
.......................................................................................................................... ""
".& Le processus de schage et de vieillissement de l'huile comme liant dans les films de
peinture .............................. "(
".( recettes historiques pour la production et la modification des huiles de lin
.................................... "*
".* L'introduction historique de recettes pour la modification de l'huile de lin
............................... &(
".5 /ur la disponibilit et les prix des matriaux de peinture .........................................
....................... &*
".+ L'application d'huiles modifies sur fin peintures mdivales ........................................
........... &7
&. Mthodes et matriaux
................................................................................................................... (0
&." 1hoix du support de liaison
......................................................................................................... (0
&.& 1hoix de recettes
..................................................................................................................... (0
&.( 2utres considrations importantes ..............................................
................................................. (5
&.* Prparation des huiles
.............................................................................................................. (!
&.5 3est des huiles
........................................................................................................................ *7
&.+ -ne note sur l'exactitude historique ............................................
.................................................. 5+ ....
&. Metode i materiale
................................................................................................................... (0
&." 2legerea mass4media cu caracter obligatoriu
......................................................................................................... (0
&.& 2legerea re ete
..................................................................................................................... (0
&.( 2lte considerente importante ..............................................
................................................. (5
&.* Prepararea uleiurilor
.............................................................................................................. (!
&.5 3estarea uleiurile
........................................................................................................................ *7
&.+ 5 not$ privind acurate ea istoric$ ............................................
.................................................. 5+ ....
La Tempera du Metier de l'Artiste Peintre - Pigments recettes
recettes pour une meilleure peinture l' huile
mdiums peindre et vernis | Kama Pigments matriel d ...
Mdium et mulsion : la techniue mi!te" un renouveau des ..
#r$ing Oils - True Art
Technical %ulletin: volume inde! - &ational 'aller$
Materials and techniue (or oil painting old masters
Oil Painting.
Painting Techniques of the Renaissance.
3he oil painting technique 6as to become dominant in the "5th and "+th centuries) it
has remained as the artists favorite medium onl7 being challenged in the latter 7ears
of the t6entieth centur7 b7 the advent of acr7lic paint.
2rtists 6or8ing in tempera found that their colours lac8ed the covering po6er of oils
6hile the fresco painter 6as unable to ma8e alterations to his 6or8. 5il provided a
versatile medium in 6hich the artist 6as allo6ed the freedom to change the
composition of his painting. 9ecause the colour saturation of the paint 6as enhanced
b7 the use of oil) no other medium could reproduce it's range of both transparenc7
and opacit7.
3he methods of appl7ing oil paints to a surface have become varied in the extreme:
from the traditional use of brushes and pallete 8nives: to the use of hands and feet: or
the splattering of paint direct from tubes and cans: in the modern era it seems that ;ust
about an7thing is used b7 artists to achieve the desired effect.

<uring the earl7 renaissance period oil painting 6as used first b7 the =etherlandish
painters and 6as eventuall7 ta8en up b7 their counterparts in #tal7. 3he =orthern
painters preparation 6as consistent) the7 used oa8 panels >or other timbers? 6ith
smooth) 6hite chal8 grounds. 2 detailed under dra6ing 6as then added and usuall7
made none absorbent b7 the application of a dr7ing oil.
)*th +entur$ ,il Techniue circa:-)-./. 0Northern Art)
2 6ooden panel 6ould be used t7picall7 made
from oa8.
3he panel 6ould be covered 6ith an animal
s8in glue then a chal8 ground 6ould be
polished into a smooth la7er. 3he 6hite ground
6ould often pla7 an important role in the
luminosit7 of the finished 6or8.
37picall7 the earl7 =orthern artist 6ould
then appl7 a ver7 detailed under dra6ing
using a fine brush and fluid) thin paint.
#mportantl7 the technique allo6ed for
alterations to be made as the 6or8
progressed.
3he painting 6as completed using several
la7ers of paint 6or8ing from light to dar8
tones. 3his is the #ecent (rom the +ross b7
@ogier van der Ae7den. Bver7 detail 6ithin
the finished 6or8 is in sharp focus in contrast
to the freer brush stro8es of later renaissance
6or8s.
3he use of canvas as a support for oil paints allo6ed for easier transport of larger compositions)
canvas is far lighter that oa8 panels) also a painting executed on canvas can be rolled up and
transported more easil7 than 6ooden panels. 1anvas became prominent in the #talian
renaissance and it 6as 6idel7 used particularl7 in Cenice. Cenice 6as a 6ealth7 trading port
and) in the man7 6or8shops 6ithin the cit7) produced sails made from linen and other fabrics.
#n fine art linen is still considered to be the finest support for oil painting. Later examples of oil
paintings from the Cenetian painters include 6or8s b7 Ceronese) 3intoretto and) as in the
painting below) 3itian.
)/th +entur$ ,il Techniue circa:-)*/1. 0Italian Art2
2 course linen canvas 6as used in this
example.
3he canvas 6as stretched and si,ed. /i,e
protected the fibres of the canvas b7 ma8ing
them less absorbent this prevented the oil
from ma8ing them brittle.
2 smooth gesso ground made from animal s8in
glue and g7psum 6as applied. 3his thin
coating ;ust covered the gaps in the 6eave.
#n contrast to the detailed dra6ings that 6e
sa6 in Can der Ae7den's 6or8 3itian
painted freel7 onto the canvas s8etching out
his composition in broad brush stro8es and
bloc8ing in the main areas. 3he under
painting is a part of the final composition
and not ;ust a frame6or8 for the main
elements of the painting.
3he finished painting) this is 3itian's The
Death of Actaeon. 3itian used an7 method
necessar7 to achieve his goals even using his
fingers or the bac8 of his brush to 6or8 in the
paint. 3hinner paint is used in the shado6s and
the highlights are generall7 painted in thic8
opaque paint mixed 6ith generous amounts of
6hite lead pigment. 3here are no hard outlines
in this 6or8 but the flesh tones >as always in
Titian's work? are carefull7 modelled.
5f course the methods of appl7ing oil paint are man7 and varied) the oil painting techniques
on this site generali,e on t6o particular examples from the renaissance era. #t 6ould not be
possible to give a full account of the complex nature of the medium over subsequent centuries)
or the modern applications of oil 6ithin the context of this site.
Two Dimensional Media and Methods: Painting Outline

For many in the Western world, art means painting.
Several reasons for the prominence of painting:
1. Paintings are usually full of color.
2. There is an impression of importance.
3. Seems like a thing set apart from the rest of the world with its own
energy and life.
Painting is the application of color to a surface using some
type of hand tool, such as a brush or a palette nife.
We now tend to associate the word !painting! with a "at
mo#eable surface to which paint has been added, such as a
can#as that can be attached to a wall.
Pigments
Powdered coloring agents
Traditionally derived from plant mineral and animal sources.
1!
th
and 2"
th
century advances in chemistry allowed production of
synthetic pigments which e#tended the range of colors.
Medium or $ehicle
The vehicle is the paste in which the pigment is suspended.
$%ueous and non&a%ueous.
%inder
$n ingredient that assures the paint even when diluted and spread
thinly will adhere to the support.
&upport
'anvas wood panel paper or walls.
&i'ing or Primer
Preliminary coating.
(ne or )oth can )e used.
Prepared with a sealer called a size. *t +lls in the pores of the
material.
To complete the surface preparation for painting an opa%ue primer
usually white is applied.
(nce the surface has )een coated and prepared it is usually referred
to as a prepared ground or a ground.
Types of Paint (
). *ncaustic +
These paints consist of pigment mi#ed with wa# and resin.
,iterary sources tell us that this was an important techni%ue ancient
-reece.
The earliest encaustic paintings that survive are funeral portraits
created during the +rst centuries $... in /gypt.
,. Fresco +
*n fresco pigments are mi#ed with water and applied to a plaster
support usually a wall or ceiling coated in plaster.
.ry plaster 0 fresco secco
1et plaster 0 buon fresco paint is made simply )y applying
pigment mi#ed with water to wet lime plaster.
2resco is a)ove all a wall painting techni%ue and has )een used for
large&scale murals since ancient time.
3o other painting medium re%uires such careful planning and hard
physical la)or.
2ound in the ancient 4editerranean 'hina *ndia and early 4e#ico.
-. Tempera +
Shares %ualities with )oth oil and watercolor.
$ water&solu)le medium.
,ike (il it dries to a tough insolu)le +lm.
Tempera colors retain their clarity and )rilliance for centuries.
The vehicle is an emulsion.
/mulsion: a sta)le mi#ture of a water&solu)le li%uid with an oil fat
wa# or resin.
4ilk
'asein
The most common #ehicle is egg yol .also an emulsion/.
Traditionally it was used on a prepared wood panel support with a
ground of gesso
0. Oil (
Oil paints consist of pigment mi1ed or compounded with oil (
usually linseed oil.
The oil acts as the )inder and creates as it dries a thin transparent
+lm in which the pigment is suspended.
2or a)out 5"" years the word 6painting6 has )een virtually
synonymous with oil.
(nly since the 1!5"7s with the creation of acrylic paints has the
supremacy of oil paint )een challenged.
(utstanding characteristic: it dries very slowly.
1. $dvantages and disadvantages.
2. 'olors can )e )lended su)tly.
3. ,ayers of paint can )e applied on top of other layers with little
danger of cracking or separating.
8. The artist can rework sections almost inde+nitely.
5. 1hen the artist is pressed for time it is a disadvantage.
Thick, loaded brushwork that oil made possible added a new
expressive element to painting that painters were quick to
take advantage of.
2. Watercolor +
'onsists of pigment suspended in water and gum
The most common support for watercolor is paper.
'ommonly thought of an intimate art: small of scale and free in its
e#ecution.
9e%uires only water for use.
The entire painting tradition of East sia, with its
monumental landscapes and length! hand scrolls, was created
entirel! with water"based paints.
(utstanding 'haracteristics: Transparency.
#. $pplied thinly in translucent washes.
$. The paper usually serves for white
%. .ark areas are )uilt up through several layers of wash to create
depth without ever )ecoming truly opa%ue.
&. 1atercolors appear controlled yet spontaneous.
3. 4ouache +
1atercolor with inert white pigment added.
*nert pigment: colorless or virtually colorless in paint.
(pa%ue.
'an completely hide any ground or other color.
/specially suited for creating large areas of :at saturated color.
5. 6crylics7&ynthetics
;rought a)out )y an enormous development in chemistry in the early
2"
th
century.
;y the early 1!3"7s chemists had learned to make strong
weatherproof industrial paints using a vehicle of synthetic plastic resin.
2or the +rs time since its development oil paint had a serious
challenger as the principal medium in 1estern Painting.
These new synthetic artists colors are widely know as acr!lics.
$crylic polymer is more accurate.
<ehicle consists of an acrylic resin that has )een polymeri=ed
>meaning its simple molecules have )een linked into long chains?
through emulsion in water.
1ater&solu)le until they dry.
.epending on how they are used they can mimic the e@ects of
watercolor gouache and even tempera.
The can )e used on )oth paper and fa)ric.
8. Painting related techni9ues ( :ollage and Mosaic
:ollage (
6 French word that means !pasting! or !gluing.!
9efers to )oth the practice of gluing paper or fa)ric onto a support
and the resulting artwork itself.
1e are used to collage as a medium now )ut there was a time when
it was considered revolutionary.
-eorge ;ra%ue +rst hit upon the idea of gluing real everyday
materials onto his canvases.
Mosaic (
The mosaic artist 6paints7 )y assem)ling small colored stones )its of
glass or colored clay tiles into a pattern or pictorial image.
Asually mosaics are set into a wall or a :oor )ecause they are
dura)le enough to )e walked upon.
$ssociated with the ancient 9omans and the ;y=antine /mpire.
". 50D 3urpentine
&. *0D Linseed oil
(. "0D <ammar varnish.
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<ammar4varnish4in4an4oil4painting4mediumGsthash.3&mllHgx.dpuf
Mediums for oil painting old masters ;an van e7c8 rubens van d7c8