|
Painting on surfaces with pigments ground into a medium of oil - especially in early modern Europe, linseed oil - was probably developed for decorative or functional purposes in the high middle ages. Surfaces 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. Many Renaissance sources credit northern European painters of the 15th century with the 'invention' of painting with oil media on wood panel - [Jan van Eyck]? often mentioned as the "inventor." |
|
Painting on surfaces with pigments ground into a medium of oil - especially in early modern Europe, linseed oil - was probably developed for decorative or functional purposes in the high middle ages. Surfaces 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. Many Renaissance sources credit northern European painters of the 15th century with the 'invention' of painting with oil media on wood panel - [Jan van Eyck]? often mentioned as the "inventor." |
|
LOST OLD MASTER FORMULAS BY MAROGER French painter and restorer Jacues Maroger, spent a good portion of his life finding the "lost secrets" of Old Masters. His book The Secret Mediums and Techniques of the Masters was published in English in 1948. The medium is as close to what the masters used as can be had. Paintings completed by many Baltimore, Maryland realist have much of the same paint quality of the 17th century masters. SIX FORMULAS OF MAROGER Note of Caution: These formulas are made from lead and are very toxic to make. First Lead Medium (attributed to Antonello da Messina) One part litharge (yellow lead oxide) or lead white, combined by cooking with three to four parts linseed. Second Lead Medium (attributed to Leonardo da Vinci) One part litharge or lead white, combined by cooking with three to four parts rawlinseed oil, and three to four parts water. Third Lead Medium (attributed to the Venetian painters Giorgione, Titian and Tintoretto) One or two parts litharge or lead white, combined by cooking with 20 parts raw linseed or walnut oil. Fourth Lead Medium (attributed to Peter Paul Rubens) This medium was allegedly based on the black oil of Giorgione with an addition of mastic resin, Venice turpentine and beeswax. One or two parts litharge or lead white, combines by cooking with 20 parts raw linseed. A little more that one spoonful of "black oil" combined with even one spoonful of mastic varnish resulted in the "jelly" medium thought to be Megilp (another name of Maroger mediums). Fifth Lead Medium (attributed to the "Little Dutch Masters") This medium was supposedly the same as the one used by Rubens, but did not include beeswax. Sixth Lead Medium (attributed to Velázquez) One part verdigris (derived from copper - this material is substituted for the lead-based metallic driers), combined by cooking with 20 parts raw linseed or walnut oil. Already prepared medium can be found at: http://www.marogermedium.com |
The term is also used in a mild insult, generally towards a woman who has questioned the looks of another woman: "You're no oil painting yourself", implying that the target is not particularly attractive
![[Home]](wikipedia.png)