query: the most common medium for oil paint is

pos: Oil paint Oil paint Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried oil paint film. Oil paints have been used in Europe since the 12th century for simple decoration, but were not widely adopted as an artistic medium until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood

pos: Oil paint Oil paint Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried oil paint film. Oil paints have been used in Europe since the 12th century for simple decoration, but were not widely adopted as an artistic medium until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood

pos: Paint dyes that change conformation when an electric current is applied across the film itself. This new technology has been used to achieve glare protection at the touch of a button in passenger airplane windows. Since the time of the Renaissance, siccative (drying) oil paints, primarily linseed oil, have been the most commonly used kind of paints in fine art applications; oil paint is still common today. However, in the 20th century, water-based paints, including watercolors and acrylic paints, became very popular with the development of acrylic and other latex paints. Milk paints (also called casein), where the medium is derived

pos: Linseed oil drying oils, linseed oil exhibits fluorescence under UV light after degradation. Most applications of linseed oil exploit its drying properties, i.e., the initial material is liquid or at least pliable and the aged material is rigid but not brittle. The water-repelling (hydrophobic) nature of the resulting hydrocarbon-based material is advantageous. Linseed oil is a common carrier used in oil paint. It can also be used as a painting medium, making oil paints more fluid, transparent and glossy. It is available in varieties such as cold-pressed, alkali-refined, sun-bleached, sun-thickened, and polymerised (stand oil). The introduction of linseed oil was a significant

pos: Water miscible oil paint as well as transparetizer which will not change the consistency of the paint. There are many documented issues with accelerator products in this category causing cracking and damaging the archivability of the medium. Winsor and Newton has created a special line of oils, mediums, varnishes, and thinners to complement their “Artisan” brand of water mixable oil colors. This line includes thinner, linseed oil, safflower oil, stand oil, painting medium, fast drying medium, and impasto medium, as well as gloss varnish, matt varnish, satin varnish, and varnish remover. Daniel Smith also offers a range of suitable mediums. Water miscible oil paint

pos: Painting bulldozing a highway through the homes of the imagination. Different types of paint are usually identified by the medium that the pigment is suspended or embedded in, which determines the general working characteristics of the paint, such as viscosity, miscibility, solubility, drying time, etc. Oil painting is the process of painting with pigments that are bound with a medium of drying oil, such as linseed oil, which was widely used in early modern Europe. Often the oil was boiled with a resin such as pine resin or even frankincense; these were called 'varnishes' and were prized for their body and

pos: Acrylic paint acrylic paint. As linseed oil contains a smaller molecule than acrylic paint, oil paint is able to absorb substantially more pigment. Oil provides a refractive index that is less clear than acrylic dispersions, which imparts a unique "look and feel" to the resultant paint film. Not all the pigments of oil paints are available in acrylics and vice versa, as each medium has different chemical sensitivities. Some historical pigments are alkali sensitive, and therefore cannot be made in an acrylic emulsion; others are just too difficult to formulate. Approximate "hue" color formulations, that do not contain the historical pigments, are

pos: Distemper (paint) Distemper (paint) Distemper is a decorative paint and a historical medium for painting pictures, and contrasted with tempera. The binder may be glues of vegetable or animal origin (excluding egg). Soft distemper is not abrasion resistant and may include binders such as chalk, ground pigments, and animal glue. Hard distemper is stronger and wear-resistant and can include casein or linseed oil as binders. Distemper is an early form of whitewash, also used as a medium for artistic painting, usually made from powdered chalk or lime and size (a gelatinous substance). Alternatives to chalk include the toxic substance white lead. Distempered

pos: Megilp a great deal over time. Megilp was also used by Turner. Megilp Megilp also known as Macgilp and McGuilpis is an oil painting medium consisting of a mixture of mastic varnish and an oil medium: such as walnut, linseed, safflower, poppy, black oil (linseed oil) cooked with litharge or white lead etc. Earlier recipes may omit the mastic and substitute wax It makes oil paint thin, glossy, and easy to work, with an extremely short drying time; and depending on the formulation, the modern, premixed glazes may help produce the sensation of depth, and help the painter by producing transparency

pos: Megilp Megilp Megilp also known as Macgilp and McGuilpis is an oil painting medium consisting of a mixture of mastic varnish and an oil medium: such as walnut, linseed, safflower, poppy, black oil (linseed oil) cooked with litharge or white lead etc. Earlier recipes may omit the mastic and substitute wax It makes oil paint thin, glossy, and easy to work, with an extremely short drying time; and depending on the formulation, the modern, premixed glazes may help produce the sensation of depth, and help the painter by producing transparency that will hold in place rather than running or sagging, while

pos: Oil painting Such varnishes can be removed without disturbing the oil painting itself, to enable cleaning and conservation. Some contemporary artists decide not to varnish their work, preferring the surface unvarnished. Oil painting Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are also visible in the sheen of the

pos: Oil painting Oil painting Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are also visible in the sheen of the paints. 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

pos: Oil pastel an almost impasto effect. Once applied to a surface, the oil pastel pigment can be manipulated with a brush moistened in white spirit, turpentine, linseed oil, or another type of vegetable oil or solvent. Alternatively, the drawing surface can be oiled before drawing or the pastel itself can be dipped in oil. Some of these solvents pose serious health concerns. Oil pastels are considered a fast medium because they are easy to paint with and convenient to carry; for this reason they are often used for sketching, but can also be used for sustained works. Because oil pastels never dry

pos: Oil paint considered drying, those with an iodine number of 115-130 are semi-drying, and those with an iodine number of less than 115 are non-drying. Linseed oil, the most prevalent vehicle for artists' oil paints, is a drying oil. When exposed to air, oils do not undergo the same evaporative process that water does. Instead, they polymerize into a dry semisolid. This rate of process can be very slow, depending on the oil. The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually. Earlier media such as egg tempera dried quickly, which prevented the

neg: Oil stick and rolled into a crayon. Oil sticks can be used to produce drawings, paintings, and sketches. It is not a common medium nor a much used medium however is highly effective in art. Oil stick Oil stick, oil bar, or oilstick, is an art medium. It is produced in a stick form similar to that of a crayon or oil pastel. It is distinguished from oil pastel, to which it may appear similar, in that the oil used is comparatively volatile, causing a skin to develop on exposed surfaces. Oil sticks are oil paint in solid form. Oil sticks are

neg: Tempera additives such as oil and wax emulsions can modify the medium. Egg tempera is not a flexible paint and requires stiff boards; painting on canvas will cause cracks to form and chips of paint to fall off. Adding oil in no more than a 1:1 ratio with the egg yolk by volume produces a water-soluble medium with many of the color effects of oil paint, although it cannot be painted thickly. Some of the pigments used by medieval painters, such as cinnabar (contains mercury), orpiment (contains arsenic), or lead white (contains lead) are highly toxic. Most artists today use modern

neg: Jacques Maroger is to rub a very thin film of Maroger medium over the area to be painted and paint into that—known as "painting into the couch." This lubricates the brush stroke. Maroger medium (or any other painting medium, for that matter) should never be used as a final picture varnish, as Maroger requires reaction by admixture with oil paint in order to dry. The reduced availability of lead, combined with injunctions against lead use in household products and other factors has caused most major paint makers to discontinue the production of Maroger's medium. Many paint makers now offer faux-maroger's media or

neg: Microsoft Fresh Paint Microsoft Fresh Paint Fresh Paint is a painting app developed by Microsoft and released with the launch of Windows 8 in October 2012. Fresh Paint originated from a Microsoft Research project known as Project Gustav, an endeavor to reproduce the behavior of physical oil paint on a digital medium. To push the boundaries of simulating oil on a digital medium the research team created a physics model that precisely replicated on a screen what would happen in the real world if you combined oil, a surface and a tool such as a paint brush. Two publications, Detail-Preserving Paint Modeling for

neg: Microsoft Fresh Paint remade for Windows 10 computers. Major Milestones Ongoing monthly updates Microsoft Fresh Paint Fresh Paint is a painting app developed by Microsoft and released with the launch of Windows 8 in October 2012. Fresh Paint originated from a Microsoft Research project known as Project Gustav, an endeavor to reproduce the behavior of physical oil paint on a digital medium. To push the boundaries of simulating oil on a digital medium the research team created a physics model that precisely replicated on a screen what would happen in the real world if you combined oil, a surface and a tool such

neg: Oil painting The various oils dry differently, which creates assorted effects. Traditionally, artists mixed their own paints from raw pigments that they often ground themselves and medium. This made portability difficult and kept most painting activities confined to the studio. This changed in the 1800s, when tubes of oil paint became widely available following the American portrait painter John Goffe Rand's invention of the squeezable or collapsible metal tube in 1841 (the year of Claude Monet's birth). Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism). A

neg: Paint thinner Paint thinner A paint thinner is a solvent used to thin oil-based paints or clean up after their use. Commercially, solvents labeled "Paint Thinner" are usually mineral spirits having a flash point at about 40 °C (104 °F), the same as some popular brands of charcoal starter. Common solvents used as paint thinners include: Less common solvents used as paint thinner include: Exposure to vapors created by paint containing thinner or its clean up may be hazardous. The American Conference of Governmental Industrial Hygienists has established threshold limit values (TLVs) for most of these compounds. TLV is defined as the

neg: Renaissance art illuminated manuscripts, and other forms such as stained glass; the medium of fresco was less common in northern Europe. The medium used was oil paint, which had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the depiction of tonal variations and texture, so facilitating the observation of nature in great detail. The Netherlandish painters did not approach the creation of a picture through a framework of linear perspective and correct proportion. They maintained a

neg: Poppyseed oil about consumer preferences showed that cold pressed oils with a roasty taste are preferred the most. In order to achieve such a taste, the seeds are treated with a roasting before they are pressed. Poppyseed oil is a drying oil. In oil painting, it is a popular oil for binding pigment, thinning paint, and varnishing finished paintings. Some users consider "sun-thickened" poppyseed oil to be the best painting medium. Poppyseed oil has been used for painting for at least 1500 years—one of the oldest known oil paintings, found in caves of Afghanistan and dated to AD 650, was likely drawn

neg: African art oils, acrylics and watercolors and/or combination. Pure abstract art is rare in Kenya. Most artists paint semi-abstract with distorted human figures. The initial paintings by Bulinya Martins were a combination of cubism and original African abstractions. The late Mainga's abstractions were 2D and highly embellished on leather. As for material, the use of Acrylics and oil is more frequent than watercolors. Oil paint is by far the preferred medium today and it lasts much longer. The art items in Kenya include sisal baskets, elephant hair bracelets, Maasai bead jewelry, musical instruments, silver and gold jewelry, soapstone sculptures, wooden carvings, tribal

neg: Oil painting the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Although oil paint was first used for Buddhist paintings by painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century. Its practice may have migrated westward during the Middle Ages. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in Northern Europe, and by the height of the Renaissance

neg: Water miscible oil paint of an oil medium in which one end of the molecule has been altered to bind loosely to water molecules, as in a solution. The traditional rule of gradation of layers — "fat over lean," or flexible over less flexible — applies to water miscible oil paint as it does to traditional oil, and in this respect the two kinds of paint behave in the same way. However, their handling is slightly different: when thinned with water to a considerably liquid phase, water miscible oil paint tends to feel and behave like watercolor (although, unlike watercolor, and to a greater

neg: Brandon Bird Brandon Bird Brandon Bird is an American illustrator and cartoonist. Brandon Bird was born in 1980 in Carmichael, California, a suburb of Sacramento. He attended University of California, Santa Cruz and was an artist-in-residence from 2004-2006 at Risley Residential College at Cornell University. His most common medium is oil paints on canvas, but he has shown the ability to work with a multiplicity of artistic genres, including pen and ink and digital mediums. In 2013, Chronicle Books published a collection of his work, "Brandon Bird's Astonishing World of Art". Bird tends to paint figures from history and popular culture such

neg: Water miscible oil paint of oil, the paint film will have some thickness to it). Also gouache-like is the overall effect, which tends to be matte as compared to the glossier oil, but this too is a property that will vary, depending on the pigment used and on any mediums (or diluents) mixed into it, as well as on the pastiness of the paint (as a general rule, the pastier, the glossier). The handling of water miscible oil paint, in summary, changes considerably as it passes from one phase to another: this makes it a versatile medium but, by the same token, it also

neg: Craquelure Craquelure Craquelure (, ) is the fine pattern of dense cracking formed on the surface of materials and can be induced by drying, aging, intentional patterning, or a combination of all three. The term is most often used to refer to tempera or oil paintings, but it can also develop in old ivory carvings or painted miniatures on an ivory backing. Recently, craquelure has been proposed as a way to authenticate art. Painting systems are composed of complex layers with unique mechanical properties that depend on the type of drying oil or paint medium used and the presence of paint

neg: Oil stick Oil stick Oil stick, oil bar, or oilstick, is an art medium. It is produced in a stick form similar to that of a crayon or oil pastel. It is distinguished from oil pastel, to which it may appear similar, in that the oil used is comparatively volatile, causing a skin to develop on exposed surfaces. Oil sticks are oil paint in solid form. Oil sticks are made by compressing wax and oil until it forms into an oil stick. The same basic pigments and drying oils that are used in the formulation of tube paint are combined with wax

neg: Acrylic paint of wet-in-wet technique as in oil painting. Even though acrylic retarders can slow drying time to several hours, it remains a relatively fast-drying medium and adding too much acrylic retarder can prevent the paint from ever drying properly. Meanwhile, acrylic paint is very elastic, which prevents cracking from occurring. Acrylic paint's binder is acrylic polymer emulsion – as this binder dries, the paint remains flexible. Another difference between oil and acrylic paints is the versatility offered by acrylic paints. Acrylics are very useful in mixed media, allowing the use of pastel (oil and chalk), charcoal and pen (among others) on

neg: Glaze (painting technique) a paint is too opaque, painters will add special media or a lot of medium to the paint to make them more transparent for the purposes of glazing. While these media are usually liquids, there are solid and semi-solid media used in the making of paints as well. For example, many classical oil painters have also been known to use ground glass and semi-solid resins to increase the translucency of their paint. In oil painting, the simplest form of a glaze is a thin, oily, transparent layer of paint spread over the top of an opaque passage that has been

neg: Oil painting paper, slate, pressed wood, Masonite, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel has an advantage. Oil paint is made by mixing pigments of colors with an oil medium. Different colors are made, or purchased premixed, before painting begins, but further shades of color are usually obtained by mixing small quantities together as

neg: Color Field being. It was as if the new paint demanded a new possibility in painting, and the painters arrived at it. Oil paint, which has a medium that is quite different, which isn't water-based, always leaves a slick of oil, or puddle of oil, around the edge of the color. Acrylic paint stops at its own edge. Color field painting came in at the same time as the invention of this new paint." Acrylics were first made commercially available in the 1950s as mineral spirit-based paints called Magna offered by Leonard Bocour. Water-based acrylic paints were subsequently sold as "latex" house

neg: Scenic painting (theatre) from a designer's maquette, perhaps with accompanying photographs, printouts and original research, and sometimes with paint and style samples. Scenic paint has traditionally been mixed by the painter using pigment powder colour, a binder and a medium. The binder adheres the powder to itself and to the surface on which it is applied. The medium is a thinner which allows the paint to be worked more easily, disappearing as the paint dries. Today it is common to use brands of ready-made scenic paint, or pigment suspended in a medium to which a binder will be added. Scenic painting (theatre) Theatrical

neg: Cheryl Tall out to teach private classes for students of all levels in sculpting, clay and paint from her studio in Leucadia, CA. Cheryl Tall Cheryl Tall (born in New Jersey in 1946) is an American visual artist whose work is primarily in the medium of sculpture and large wall installations in addition to, mixed-media, oil and acrylic painting. Tall is most notable for her intricate sculptures and her works have been in prominent and private collections all over the world. She has an MFA from the University of Miami and her present art studio is in Leucadia, CA. Tall's primary medium

neg: Chris Berens for his unique and startlingly photorealistic painting methods, which he developed after teaching himself to paint with oils, in an attempt to emulate Old Master techniques. Although he was dissatisfied with the results he was getting with oil, he discovered that drawing inks, which remain fluid and mutable for up to two days, had a similar flexibility to oil paint. He explained, "When painting in oil, there are a lot of 'presents' you get from the medium. The way colors mix. The way the paint behaves, from your brush onto your canvas, how fast it dries, what happens if you

neg: Glaze (painting technique) glaze is applied. The artist may apply several layers of paint with increasing amounts of oil added to each successive layer. This process of applying the fat layers (more oil in the painter’s medium) over the lean layers (less oil) can minimize cracking; this is the "fat over lean" principle. Many painters juxtapose glazes and opaque, thick or textured types of paint application (that appear to push forward) as a means to increase surface variety, which some painters feel increases a painting's drama, brightness and depth. When the technique is used for wall glazing, the entire surface is covered, often

neg: Jeffrey Gibson traditions. Before that Gibson's most notable works, his at times 3-D wall abstracts, have been described as "atmospheric landscapes". Working in oil paint he also brings together objects that have become a signature to his works: pigmented silicon, urethane foam, and beads. Airbrushing is another common tool used in his paintings, sculptures, and prints, incorporating oil paint and spray paint to create neon colored abstracts such as "Singular" (2008) and "Submerge" (2007). These works also find inspiration in graffiti, reflective of Gibson's urban life in New York City. Creating his own totem sculptures, in 2009 Gibson produced the "Totems" series

neg: Early Netherlandish painting medium until the 1430s, and while it produces both bright and light colours, it dries quickly and is a difficult medium in which to achieve naturalistic textures or deep shadows. Oil allows smooth, translucent surfaces and can be applied in a range of thicknesses, from fine lines to thick broad strokes. It dries slowly and is easily manipulated while still wet. These characteristics allowed more time to add subtle detail and enable wet-on-wet techniques. Smooth transitions of colour are possible because portions of the intermediary layers of paint can be wiped or removed as the paint dries. Oil enables differentiation

neg: Honing oil Historically sperm whale oil, Neatsfoot oil, and other animal fats were popular. Oils were once exclusively used in part because the high carbon steels of the time, such as 1095, could rust using simple water-based solutions, and the term honing "oil" is used today even for water based honing solutions. Commercial honing oil, light sewing machine oil or, "in a pinch", heavier oil thinned with paint thinner (white spirit) or kerosine is suggested by veteran Swedish wood carver Wille Sundqvist. And "Kerosine alone works well on fine, hard stones." The two most common classes of honing oil are petroleum based

neg: Conservation and restoration of paintings used to repair cupping and flaking. Oil paint is a medium made up of pigments and a drying oil binding agent. Various other ingredients can be mixed in to condition the paint in several ways and modify its various properties and drying.Oil paintings are painted on various surface support types. Oil on canvas, oil on board, and oil on metal are only some examples of oil paintings on various surfaces. Oil paintings are susceptible to damage from vandalism, time, improper handling, environmental stressors and temperature changes. They are also susceptible to damage in low relative humid conditions, and fluctuations can

neg: Tempera eventually superseded tempera. Oil replaced tempera as the principal medium used for creating artwork during the 15th century in Early Netherlandish painting in northern Europe. Around 1500, oil paint replaced tempera in Italy. In the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others. Tempera painting continues to be used in Greece and Russia where it is the traditional medium for Orthodox icons. Tempera is traditionally created by hand-grinding dry powdered pigments into a binding agent or "medium", such as egg yolk, milk (in the form of casein)

neg: Marguerite Porter Zwicker province. Zwicker's watercolour images commonly contrast transpaecny with an intense purity of colour. It was Zwicker's opinion that "watercolour should never be resevered for quick preliminary sketches, nor necessarily should it be viewed as a more limited medium in range than oil." Her paintings are often viewed as an example of the medium at its most developed point of artistry. Watercolour was typically noted as a "woman's medium" for its lighter, more expressive appearance. However, laying down pigment suspended in water required a confidence not all artists were able to successfully possess. Zwicker herself was quoted saying, "Anyone can paint

neg: Copaiba near Iquitos, it is also used as an insect repellent. The balsam and its oil are used as fixatives in soap perfumes and fragrances. Copaiba is also used as an artist material, especially in oil paint recipes and in ceramic decoration. Mineral painters use a medium made of copaiba, turpentine and lavender to mix with their minerals for adhesion to ceramic vessels before kiln firing. Copaiba makes a good medium for oils and helps with both adhesion and quality of shine. Copaiba oil-resins extracted have been used medicinally dating back to the 16th century by the natives of north and

neg: China painting with a medium, typically some type of oil, before being brushed onto the glazed object. The technique is similar to watercolor painting. One advantage of overglaze china painting compared to oil or watercolor is the paint may be removed with a slightly wetted brush while the color is still moist, bringing back the original ground. Pieces with overglaze painting are often referred to as "enamelled". Open mediums do not dry in the air, while closed mediums do. An artist may prefer a medium that stays fluid for some time, may want one that dries hard, or may want a medium

neg: Jacques Maroger natural resins like mastic in the paint film causes embrittlement, darkening, and continued solubility. See the work of Leslie Carlyle or Joyce Townsend for problems related to 18th-century painting that contain megilp. The majority of these recipes are not employed today, as there are few companies that produce them. The primary form of "Maroger medium" known today is black oil ("Giorgione's" medium) and mastic varnish combined in approximately equal parts to form a gel. While Maroger medium is usually mixed directly with oil paints, its proportion should be kept to no more than 20% of the mixture. A useful technique

neg: Painting gloss. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in northern Europe, and by the height of the Renaissance oil painting techniques had almost completely replaced tempera paints in the majority of Europe. Pastel is a painting medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as those used to produce all colored art media, including oil paints; the binder is of a neutral hue and low saturation. The color

neg: Surfactants in paint Surfactants in paint Paint has four major components: pigments, binders, solvents, and additives. Pigments serve to give paint its color, texture, toughness, as well as determining if a paint is opaque or not. Common white pigments include titanium dioxide and zinc oxide. Binders are the film forming component of a paint as it dries and affects the durability, gloss, and flexibility of the coating. Polyurethanes, polyesters, and acrylics are all examples of common binders. The solvent is the medium in which all other components of the paint are dissolved and evaporates away as the paint dries and cures. The solvent

neg: Tempera Tempera Tempera (), also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigments mixed with a water-soluble binder medium, usually glutinous material such as egg yolk. Tempera also refers to the paintings done in this medium. Tempera paintings are very long lasting, and examples from the first century CE still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting. A paint consisting of pigment and binder commonly used in the United States as poster paint is also often referred to as "tempera

neg: Distemper (paint) painting rather than oil paint for some of their works. The earliest paintings on canvas were mostly in distemper, which was (and is) also widely used in Asia, especially in Tibetan thankas. Distemper paintings suffer more than oil paintings as they age, and relatively few have survived. It was the commonest medium for painting banners and decorations for temporary celebrations, both of which attracted artists of the highest quality, especially when they were official court artists. In distemper painting, "the carbonate of lime, or whitening employed as a basis, is less active than the pure lime of fresco ... to

neg: Oil paint paints offered an easily accessible variety of colors for their plein air palettes, motivating them to make spontaneous color choices. With greater quantities of preserved paint, they were able to apply paint more thickly. Traditional oil paints require an oil that always hardens, forming a stable, impermeable film. Such oils are called siccative, or drying, oils, and are characterized by high levels of polyunsaturated fatty acids. One common measure of the siccative property of oils is iodine number, the number of grams of iodine one hundred grams of oil can absorb. Oils with an iodine number greater than 130 are

neg: Fort Worth Circle the 1944 Local Artists Show and won First Prize for oil painting. By 1947, Bomar was producing high-level non-objective art in the oil paint medium. Dickson Reeder was awarded a solo exhibition of his most recent figural work in 1946 by the Fort Worth Art Association. Bror Utter became a three-time winner of the Fort Worth Local Artists Show, winning First Prize for painting in 1942, 1946 and 1949. Utter's pursuit of biomorphic abstraction between 1946 and 1948 earned wide notice and an observation from Dallas newspaper critic Patricia Peck that "Mr. Utter shows the most consistent growth and development

neg: Glaze (painting technique) Glaze (painting technique) A glaze is a thin transparent or semi-transparent layer on a painting which modifies the appearance of the underlying paint layer. Glazes can change the chroma, value, hue and texture of a surface. Glazes consist of a great amount of binding medium in relation to a very small amount of pigment. Drying time will depend on the amount and type of paint medium used in the glaze. The medium, base, or vehicle is the mixture to which the dry pigment is added. Different media can increase or decrease the rate at which oil paints dry. Often, because

neg: Laura Ross-Paul Northwest as a background for her paintings. Her style uses the inherent qualities of the medium and lets paint bleed across her composition, frequently using a resin compound to blur the colors together to achieve a soft look. Geometric shapes such as orbs are a common reoccurring motif in her paintings. Her 2002 collection is a strong example of this. Laura Ross-Paul Laura Ross-Paul (born 1950) is a contemporary painter of oil and wax in the Pacific Northwest of the United States. Laura Ross-Paul was born in Portland, Oregon in 1950. In 1968, Ross-Paul worked as a political cartoonist and

neg: Jan van Goyen colour collection of neutral grays, umbers, ochre and earthen greens that looked like they were pulled from the very soil he painted. A varnish oil medium was used as vehicle to grind his powered pigments into paint and then used to help apply thin layers of paint which he could easily blend. The dark areas of the painting were kept very thin and transparent with generous amounts of the oil medium. The light striking the painting in these sections would be lost and absorbed into the painting ground. The lighter areas of the picture were treated heavier and opaque with

neg: Bob Coronato Coronato found a new way of combining his intaglio printmaking with his love of oil painting. The pittura di strati medium of silkscreen, oil, and acrylic is the only way to achieve the effect he wanted. Coronato wanted to explore the age-old tradition of silk screen with cutting-edge techniques with the drawing and imagery from his etchings. Coronato begins by texturing a board with thick gesso. Multiple layers of acrylic paint are applied, and on top of the acrylic goes the silk screened line work. Layers of translucent oil paint are slowly built up. Oil can create fine glazes, transparent

neg: Thangka most common is a loosely woven cotton produced in widths from 40 to 58 cm (16 - 23 inches). While some variations do exist, tangkas wider than 45 cm (17 or 18 inches) frequently have seams in the support. The paint consists of pigments in a water-soluble medium of animal glue. Both mineral and organic pigments are used. In Western terminology, this is a distemper technique; although it is often described as a form of gouache, this is incorrect, and the paint was applied as a warm liquid, mixed shortly before application. Most old thangka have inscriptions on the back,

neg: Liquin Liquin Liquin is a quick-drying medium for oil and alkyd paint. Used as an additive in many forms of artwork, Liquin is produced by Winsor & Newton and has a number of uses. Alkyd resin medium for artists was first invented in the 1970s by Arthur DeCosta, a longtime professor at The Pennsylvania Academy of the Fine Arts in Philadelphia. DeCosta's medium, Turco Classic, was sold only locally at the Academy's school store, the Philadelphia Utrecht Linen art supply store, and one or two other privately owned art supply stores. DeCosta believed his medium had similar qualities to Maroger medium

neg: Acrylic paint typically offered as substitutes. Due to acrylic paint's more flexible nature and more consistent drying time between layers, an artist does not have to follow the same rules of oil painting, where more medium must be applied to each layer to avoid cracking. It usually takes 15–20 minutes for one to two layers of acrylic paint to dry. Although canvas needs to be properly primed before painting with oil to prevent it from eventually rotting the canvas, acrylic can be safely applied straight to the canvas. The rapid drying of acrylic paint tends to discourage blending of color and use

neg: Bran commercial ice blocks to prevent them from melting. Bran oil may be also extracted for use by itself for industrial purposes (such as in the paint industry), or as a cooking oil, such as rice bran oil. Bran was found to be the most successful slug deterrent by BBC's TV programme, "Gardeners' World". It is a common substrate and food source used for feeder insects, such as mealworms and waxworms. Wheat bran has also been used for tanning leather since at least the 16th century. George Washington had a recipe for small beer involving bran, hops, and molasses. It is

neg: Alden Mason (artist) much trouble with watercolor." The most attractive properties of watercolor for Mason were the same that made the medium difficult to master: fluidity of paint and permanence of each brush stroke. For Mason, watercolor allowed him to improvise, sketching and at the same time painting the final composition. Though his teacher and mentor Hill exemplified how to properly paint landscape, Mason's pursuit of watercolors steadily moved away from his own small controlled landscapes to larger, free-style abstractions. As early 1970 passed, Mason's craving to work on a substantially larger scale than watercolor enabled him to make the switch to oil

neg: Oil sketch Oil sketch An Oil sketch or oil study is an artwork made primarily in oil paint in preparation for a larger, finished work. Originally these were created as preparatory studies or modelli, especially so as to gain approval for the design of a larger commissioned painting. They were also used as designs for specialists in other media, such as printmaking or tapestry, to follow. Later they were produced as independent works, often with no thought of being expanded into a full-size painting. The usual medium for "modelli" was the drawing, but an oil sketch, even if done in a limited

neg: Kim McCarty Kim McCarty Kim McCarty (born February 10, 1956 in Los Angeles, CA) is a watercolor painter, artist living and working in Los Angeles, CA. McCarty's work has been exhibited in over 20 solo exhibitions in New York and Los Angeles. She works in layers of monochromatic colors. McCarty began working with the watercolor medium in 1993 after her studio was destroyed by a fire. She could no longer find a space with proper ventilation for working with oil paint. She works in a wet-on-wet technique, normally associated with oil painting, in which the paint is applied to a moistened sheet

neg: Acrylic paint oil paints require the use of a hydrocarbon. Acrylic paints are the most common paints used in grattage, a surrealist technique that became popular with the advent of acrylic paint. Acrylics are used for this purpose because they easily scrape or peel from a surface. Acrylic artists' paints may be thinned with water and used as washes in the manner of watercolor paints, but unlike watercolor the washes are not rehydratable once dry. For this reason, acrylics do not lend themselves to the color lifting techniques of gum arabic-based watercolor paints. Acrylic paints with gloss or matte finishes are common,

neg: Mural wall or ceiling. Oil paint may be a less satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique. A consultation usually leads to a

neg: The Ambassadors (Holbein) England, Holbein displayed the influence of Early Netherlandish painters in this work. This influence can be noted most outwardly in the use of oil paint, the use of which for panel paintings had been developed a century before in Early Netherlandish painting. What is most "Flemish" of Holbein's use of oils is his use of the medium to render meticulous details that are mainly symbolic: as Jan van Eyck and the Master of Flémalle used extensive imagery to link their subjects to divinity, Holbein used symbols to link his figures to show the same things on the table. Among the

neg: Acrylic paint as the binder. Thus, oil paint is said to be "oil-based", whereas acrylic paint is "water-based" (or sometimes "water-borne"). The main practical difference between most acrylics and oil paints is the inherent drying time. Oils allow for more time to blend colors and apply even glazes over underpaintings. This slow-drying aspect of oil can be seen as an advantage for certain techniques, but it impedes an artist trying to work quickly. The fast evaporation of water from regular acrylic paint films can be slowed with the use of acrylic retarders. Retarders are generally glycol or glycerin-based additives. The addition of

neg: Bernard de Wolff 2017. Nevertheless, in 2015 and 2016 Bernard de Wolff already exposed his art at exhibitions in respectively, Jinan, Shanghai and Beijing. Currently, Bernard de Wolff lives In Paris, France where he is represented by art galleries among which the prestigious Schwab Beaubourg Gallery. The artwork of Bernard de Wolff is characterized by his impressionism, while using expressive techniques. The oil paint is not just a medium to create an impression on the canvas, but as a substance, it is also an essential part of the artwork; the oil paint is present, visible, tangible. De Wolff's work is inspired by George

neg: Islam Zaher characterized by thick layers of impasto paint, something that gives the paintings a striking and powerful impact on the viewer. Islam Zaher’s loyalty to the essence of oil paint as an alive, tactile medium lies at the core of his art practice. Obsessed with the expressive potential of color and paint skin, his work seeks to translate cerebral processes into raw, psychologically charged images. Zaher’s sophisticated palette and his annihilation of form and contour stem out of his expert draftsmanship and innate understanding of the medium of painting. On his "Intuited Happiness" series of paintings and drawings, Louise Sarant wrote:

neg: Jacques Maroger Curry and Maroger. This criticism can be misleading, however. Many of the media involved in Curry's work (and other followers of Maroger) bear no resemblance whatsoever to the modern mastic varnish/black oil recipe. Maroger medium which is not made properly may contain a large amount of dirt and impurities from improperly filtered mastic varnish, or the black oil may be overcooked, both of which would contribute to darkening and weakening of the work. In addition the overuse of megilp media (or any medium for that matter) tends to create weak paint films. Conservation science has shown that the presence of

neg: Painting be mixed and applied using the same techniques as traditional oil-based paint, but while still wet it can be effectively removed from brushes, palettes, and rags with ordinary soap and water. Its water solubility comes from the use of an oil medium in which one end of the molecule has been altered to bind loosely to water molecules, as in a solution. Digital painting is a method of creating an art object (painting) digitally and/or a technique for making digital art in the computer. As a method of creating an art object, it adapts traditional painting medium such as acrylic

neg: Francis Cotes Carriera, Cotes concentrated on works in pastel and crayon (some of which became well known as engravings). After pushing crayon to its limit as a medium—although he was never to abandon it entirely—Cotes turned to oil painting as a means of developing his style in larger-scale works. In his most successful paintings, particularly those of the early 1760s, the oil paint is thinly applied, in imitation of his pastel technique, and imbued with charm, inviting comparisons with Allan Ramsay (1713–1784) and Sir Joshua Reynolds. They have clarity and warmth and possess a remarkable attention to costume. In 1763, he bought

neg: Oil purification Oil purification Oil purification (transformer, turbine, industrial, etc.) removes oil contaminants in order to prolong oil service life. Contaminants and various impurities get into industrial oils during storage and operation. The most common contaminants are : Industrial oils are purified through sedimentation, filtration, centrifugation, vacuum treatment and adsorption purification . Sedimentation is precipitation of solid particles and water to the bottom of oil tanks under gravity. The main drawback of this process is its longevity . Filtration is a partial removal of solid particles through filter medium. Oil filtration systems generally use a multistage filtration with coarse and fine filters

neg: Aerosol paint to assist in the dispersal of paints including spray paint handles and attachments to equalize the pressure and secure hand grip. Other customized technology such as sprayprinter can be attached to aerosol cans to partially automate the process of spray painting and allow for images to be created in a manner similar to printing. Speed, portability, and permanence also make aerosol paint a common graffiti medium. In the late 1970s, street graffiti writers' signatures and murals became more elaborate and a unique style developed as a factor of the aerosol medium and the speed required for illicit work. Many now

neg: Paint stripper aim to restore old furniture by stripping off worn varnishes, for example. Solvent paint strippers penetrate the layers of paint and break the bond between the paint and the object by swelling the paint. The principal active ingredient in historically common solvent paint strippers is dichloromethane, also called methylene chloride, which has serious health risks including death, is likely a carcinogen, and other risks. Solvent strippers may also have formulations with orange oil (or other terpene solvents), N-methylpyrrolidone, esters such as dibasic esters (often dimethyl esters of shorter dicarboxylic acids, sometimes aminated, for example, adipic acid or glutamic acid), aromatic

neg: Painting a type of paint that comes in a sealed pressurized container and is released in a fine spray mist when depressing a valve button. A form of spray painting, aerosol paint leaves a smooth, evenly coated surface. Standard sized cans are portable, inexpensive and easy to store. Aerosol primer can be applied directly to bare metal and many plastics. Speed, portability and permanence also make aerosol paint a common graffiti medium. In the late 1970s, street graffiti writers' signatures and murals became more elaborate and a unique style developed as a factor of the aerosol medium and the speed required

neg: High pressure injection injury hydraulic fluids, paint, and detergents, these injuries are extremely serious as most hydraulic fluids and organic solvents are highly toxic. Delay in surgical treatment often leads to amputations or death. But even with pure water or air, these injuries cause compartment syndrome which leads to cell death if surgical intervention is delayed. High pressure injection injury A grease gun injury or injection injury is an injury caused by high-pressure injection of oil, grease, diesel fuel, gasoline, solvents, water, or even air, into the body. The most common causes are accidents with grease guns, paint sprayers, and pressure washers, but working

neg: Surfactants in paint also modifies the curing rate and viscosity of the paint in its liquid state. There are two types of paint: solvent-borne and water-borne paints. Solvent-borne paints use organic solvents as the primary vehicle carrying the solid components in a paint formulation, whereas water-borne paints use water as the continuous medium. The additives that are incorporated into paints are a wide range of things which impart important effects on the properties of the paint and the final coating. Common paint additives are catalysts, thickeners, stabilizers, emulsifiers, texturizers, biocides to fight bacterial growth, etc. The word "surfactant" is short for "surface active

neg: Oil print process Oil print process The oil print process is a photographic printmaking process that dates back to the mid 19th century. Oil prints are made on paper on which a thick gelatin layer has been sensitized to light using dichromate salts. After the paper is exposed to light through a negative, the gelatin emulsion is treated in such a way that highly exposed areas take up an oil-based paint, forming the photographic image. A significant drawback to the oil print process is that it requires the negative to be the same size as the final print because the medium isn't sensitive

neg: Oil painting brush is most commonly employed by the artist to apply the paint, often over a sketched outline of their subject (which could be in another medium). Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog 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

neg: Panel painting uses heated wax as the medium for the pigments. This was replaced before the end of first millennium by tempera, which uses an egg-yolk medium. Using small brushes dipped in a mixture of pigment and egg-yolk, the paint was applied in very small, almost transparent, brushstrokes. Thin layers of paint would be used to create volumetric forms. By the beginning of the 15th century, oil painting was developed. This was more tolerant, and allowed the exceptional detail of Early Netherlandish art. This used a very painstaking multi-layered technique, where the painting, or a particular part of it, had to be

neg: History of painting credited to Jan van Eyck, made possible a new verisimilitude in depicting this naturalism. The medium of oil paint was already present in the work of Melchior Broederlam, but painters like Jan van Eyck and Robert Campin brought its use to new heights and employed it to represent the naturalism they were aiming for. With this new medium the painters of this period were capable of creating richer colors with a deep intense tonality. The illusion of glowing light with a porcelain-like finish characterized Early Netherlandish painting and was a major difference to the matte surface of tempera paint used

neg: Lead poisoning tens or hundreds of milligrams of lead. Eating chips of lead paint presents a particular hazard to children, generally producing more severe poisoning than occurs from dust. Because removing lead paint from dwellings, e.g. by sanding or torching creates lead-containing dust and fumes, it is generally safer to seal the lead paint under new paint (excepting moveable windows and doors, which create paint dust when operated). Alternatively, special precautions must be taken if the lead paint is to be removed. In oil painting it was once common for colours such as yellow or white to be made with lead carbonate.

neg: Filbert paintbrush Filbert paintbrush The Filbert paintbrush is a paintbrush used in artwork. It has a thick ferrule and hairs that are, on average, medium to long hairs in the shape of an oval. Filberts are particularly effective in blending work, usually of a figurative nature. Many artists agree that natural fibers work best for filberts because the hairs stick together better when wet. Hairs that can be used are sable, mongoose, bristle, badger and synthetic. Media most likely to have paint applied to by a filbert are oil, acrylic and decorative surfaces. This brush is used on "The Joy of Painting"

neg: Mesa Oil Field and Vaqueros Formations together form the second-most-prolific oil-producing unit in Southern California. Oil from the Mesa field was medium to heavy. Early reports give a value of 17 to 18 degrees Baumé; the California Department of Natural Resources reports the same oil as having API gravity of 20 to 24. Sulfur content was 0.45 percent. As its quality was relatively low, it was mainly used for fuel oil, road oil and asphalt. Wells rarely produced for long, and a common experience of operators was fast production when the well first hit the oil-bearing sandstone, followed by swift decline, with late

neg: Early Netherlandish painting as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three

neg: Impasto the root noun of "impasto" is "pasta", whose primary meaning in Italian is "paste". Oil paint is the traditional medium for impasto painting, due to its thick consistency and slow drying time. Acrylic paint can also be used for impasto by adding heavy body acrylic gels. Impasto is generally not seen done in watercolor or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper. The impasto technique serves several purposes. First, it makes the

neg: Michael Flohr artists throughout history inspire me, specifically Pissaro, Monet, Manet, and Degas. Like these artists, I prefer to work in oils. I love oil paint because of its durability and the richness it brings to the canvas. I also believe that most people with an appreciation for art respect an artist's use of this classic medium. I do not work with models. I prefer to sketch 'in the moment' as a scene unfolds, most often with charcoal. Many times, these sketches will become works of art in themselves, because they capture a different mood. Sometimes I work with candid photographs. I

neg: Cleaning agent nonionic surfactants, polymeric phosphates or other sequestering agents, solvents, hydrotropic substances, polymeric compounds, corrosion inhibitors, skin-protective agents, and sometimes perfumes and colorants. Some cleaners contain water-soluble organic solvents like glycol ethers and fatty alcohols, which ease the removal of oil, fat and paint. Disinfectant additives include quaternary ammonium compounds, phenol derivatives, terpene alcohols (pine oil), aldehydes, and aldehyde-amine condensation products. All-purpose cleansers are effective with most common kinds of dirt. Their dilute solutions are neutral or weakly alkaline, and are safe for use on most surfaces. Metal cleaners are used for cleaning stainless steel sinks, faucets, metal trim, silverware, etc.

neg: Mary Beale third son Charles was born in 1660. The most common way to learn how to paint at the time was to copy great works and masterpieces that were accessible. Mary Beale preferred to paint in oil and water colours. Whenever she did a drawing, she would draw in crayon. Peter Lely, who succeeded Anthony van Dyck as the court painter, took a great interest in Mary's progress as an artist, especially since she would practice painting by imitating some of his work. Mary Beale started working by painting favours for people she knew in exchange for small gifts or favors.

neg: Glow of Hope and one son (Meena Shertukade, Lali Akojwar, Jyoti Shah, (Sandhya) Sonali Punatar, and Rajprakash Uplekar). The young woman had to stay in the perpetual position for three hours continuously. Furthermore, he made this portrait with watercolours. He used this as his medium because he wanted to show the world that he can make a painting without a single mistake, unlike the oil paint which can be corrected using white paint. The painting is mimetic in approach, with no deliberate distortions. Glow of Hope Glow of Hope, alternately titled ""Woman With the Lamp"", is a painting by S.L. Haldankar. The work

neg: Liquin first discovered by the artist Patrick Woodroffe and is outlined in his book "A Closer Look" (Paper Tiger, 1986, ). Liquin also permits the creation of "save" layers in painting. Painted over all, or part, of an artwork in progress (and left to dry), Liquin allows the artist to scrape or wipe back subsequent work to the Liquin layer, while preserving all work beneath. It can also be used as a simple carrier base and, when compressed together with paint under a layer of plastic wrap, produces effective decalcomania. Liquin Liquin is a quick-drying medium for oil and alkyd paint.

neg: Alden Mason (artist) do the same thing in acrylic that I did in oil?" To develop his ideas, he spent some time working on large paper pieces in search of his voice with this new medium. His works on paper during this period were drawn with a chopstick dragging acrylic paint and painted with thin, gestural washes on paper that had been painted black. The first acrylic works on canvas were done in a similar fashion to the oil "Burpees"; he poured thin acrylic paint onto horizontally oriented, white primed canvas hoping to produce the same effects the "Burpees" had realized. By the

neg: Pastel artists to protect artwork which is being stored or transported. Some good quality books of pastel papers also include glassine to separate pages. Pastel techniques can be challenging since the medium is mixed and blended directly on the working surface, and unlike paint, colors cannot be tested on a palette before applying to the surface. Pastel errors cannot be covered the way a paint error can be painted out. Experimentation with the pastel medium on a small scale in order to learn various techniques gives the user a better command over a larger composition. Pastels have some techniques in common

neg: Canvas damaging to the fabric of the canvas than the use of oil paint. In 1970 artist Helen Frankenthaler commented about her use of staining: "When I first started doing the stain paintings, I left large areas of canvas unpainted, I think, because the canvas itself acted as forcefully and as positively as paint or line or color. In other words, the very ground was part of the medium, so that instead of thinking of it as background or negative space or an empty spot, that area did not need paint because it had paint next to it. The thing was

neg: Pia Fries surface is required for the processes she enacts; she was trained as a sculptor before shifting to this fluid, flatter medium, so her tools are important, and range from traditional choices such as palette knives, spatulas, and brushes to objects foreign to the studio including syringes, industrial objects, application objects she makes herself. This gives her myriad methods to manipulate the pure oil paint that is sometimes thickened with resin, sometimes thinned with medium, sometimes flatly silk-screened onto the face. Addition and subtraction is part of a painter's customary process, and in her Duesseldorf studio Fries has several paintings in

neg: Tempera it appears to have taken over from encaustic painting and was the main medium used for panel painting and illuminated manuscripts in the Byzantine world and Medieval and Early renaissance Europe. Tempera painting was the primary panel painting medium for nearly every painter in the European Medieval and Early renaissance period up to 1500. For example, every surviving panel painting by Michelangelo is egg tempera. Greek painter Timarete used wax and tempera in her paints in 5th century BC Oil paint, which may have originated in Afghanistan between the 5th and 9th centuries and migrated westward in the Middle Ages

neg: Ma Jolie (Picasso, 1914) paint, Picasso used the canvas to experiment with texture and form, fracturing the objects into geometric shapes and depicting them from multiple angles. He also displayed great creativity in the application of the paint, using a comb to create the lines on the sheet music and the recorder's wood grain. "Ma Jolie" ("My Pretty One") was both a popular French song and the nickname of Picasso's lover, Eva Gouel (born Marcelle Humbert). Sheet music for the song can be seen in the background of the painting. This artwork represents Picasso's return to the oil paint medium after a period of

neg: Painterwork opacity/translucency. Oil paints are made up of four parts, the base, the vehicle, the solvent and the driers. Pigment may be added to these to obtain a paint of any desired color. There are several bases for oil paint, those most commonly used for building work being white lead, red lead, zinc white and iron oxide. White lead is a base for paint. It is poisonous, and is used with care, when used at all. When pure it consists of about 75% lead carbonate and about 25% of lead hydrate. It is mixed with 6 or 7% by weight of

neg: Nude (art) the present. Japanese prints are one of the few non-western traditions that can be called nudes, but they are quite different. The activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West. Oil paint historically has been the ideal medium for depicting the nude. By blending and layering paint, the surface can become more like skin. "Its slow drying time and various degrees of viscosity enable the artist to achieve rich and subtle blends of color and texture, which can suggest transformations from