This technique was expanded in the late Gothic period to Cenino Cenini, this technique was discovered by Jan van Eyck.
This is clearly not true because the oil-layered layers appeared in medieval painting, for example, in paintings by Theodor Theodoric
This form of painting was created in the 15th century after tempering and the need to overcome the limitations that this technique has. And the oldest recipes can be found in the Stasbourg manuscript.
This new technique was used and given new impulses by Jan van Ajk, and Antonello that Messina transmitted this method of painting to Italy in which it was accepted and developed more slowly than in northern Europe. It was common in the 16th century that this technique was combined with temperaments, but other painters such as Peter Paul Rubens used parallel temper and oil. The oil paintings were found in the 7th-century East on the statues of the Buddha.
The origins of oil painting are clarity and relative durability of paint and color. In addition, only painting does not have to take place quickly and allows for any kind of image correction, which allows for everybody’s refined procedures, such as the use of lacquer colors. The disadvantage is a slow drying of the color, in addition, in the wrong selection and mistake in the mixing of colors occurs when drying until the picking or cracking of the applied paint layer. The ancestor of oily color was tempera of egg yolks.
Paints for oil painting
Substrates in painting are those solid surfaces on which the image is performed. Wood, canvas, metal surfaces, paper, cardboards, wall, etc. are considered as the basis for painting. The earliest foundation in painting was a board that was directly prepressed or attached to the canvas, and then it was prepressed and washed and, as such, was used as a painting substrate. With the development of painting and the arrival of oil paint gradually, the board disappeared as a backing for paintings and instead began to use a canvas that today is almost exclusively a backbone in painting. The platinum is satisfactory because it is possible to make large-format images, which was not possible on the board and the other that the grain size of the canvas corresponds much more to the painter’s taste than that board.
To be able to paint on the canvas, it is necessary to rinse it on one kailor and then inject it with such a solution of a booster that will limit the absorption of the canvas to pour its pores and protect it from moisture from the back. Some painters paint a canvas that is impregnated, but most of it after impregnation is coated with some medium that will give the painting screen a uniform color a certain smoothness and which will close the pores in two coats before it starts with the image. The recipe for impregnation has countless. As an impregnating material, adhesive or binder and white pigments are considered. For the binder, from the earliest times, a melt of dandelion or casein is used, and only later the use of oil as a binder for preparing the preparation. As far as the pigmanates used to make the preparations are concerned, there are many. The oldest and best preparation for preparing the preparation is raw plaster and then the sedimentary chalk of the birkreda. Some painters also use sculptural plaster, some kaolin or a duck. Since these pigments are not sufficient because they get other colors of color in contact with oil, some white color such as krenzervajs, zincwax or lithopone are added to the preparations.
The most common substrate for oil painting and preparation
Flax or maroon unbleached canvas is taken. Let the weaving of this canvas be platinum. j. to have a uniform structure on the face and on the lookout. Vertical and horizontal ends (base and shelf) should be from the same end. This canvas is laid on the table and a kailail is made for it, from which the cans are removed. When the canvas is placed then it begins with the troweling of the canvas. There are several types of crucifixion. The middle nail from the kail should be removed and now it is pulled in the middle of the kail frame and then it is crushed to the right and tightened and fastened, and then all this is repeated until the upper side breaks and does not fasten. After all, this is done with the corners, preferably with slightly longer nails. When fastening the nails to the kail rack, the nails should not be completely cut, but the possibility should be left to pull them out of the kail frame in case they need it.
For impregnation, 6-7% of the water booster is melted (60-70 grams per liter of water), then put into this boiling solution a spoon of melted stems, which was previously soaked in a little hot water. Put this scribbled boar to get a little hot in the cold place and then spit it up with a brush and then shake it in the middle of the canvas and smear it all over the surface, and remove all the surplus from the canvas from the canvas. To put this kind of ingot towel dry.