Historic Oil Painting Mediums
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- เผยแพร่เมื่อ 10 มี.ค. 2021
- The old masters employed a variety of ingenious methods to make suitable oil painting mediums. In this video I discuss in detail the various ways to prepare drying oils so they can be used for painting.
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#Oilpaintingmediums #linseedoil #paintingmediums - แนวปฏิบัติและการใช้ชีวิต
Excellent presentation, you are so passionate and know your materials! Regarding one question raised about the using of egg yolk in the oil medium. The general consensus is that egg mediums and the oil mediums were applied on separate layers, not mixed togheter. Most likely the underpainting was done in egg tempera, or egg tempera emulsion (1 part egg yolk to 1 part oil and up to two parts water- yes, it has oil but it still behaves like tempera) or distemper (animal glue tempera). Once dried, this tempera layers were glazed in pure oil colors or oil-resin color. It is much talked that for many centuries painters did not actually worked in pure oil colors, there was almost always some kind of tempera underpainting involved. This has many advantages: it's economical (cheaper), it dries faster and also the tempera protects the oil color from sinking in the ground. Tempera also becomes lighter in tone with time, counteracting the darkening of oil colors. The use of egg tempera by Carravagio underneath the oil glazes and also sometimes on top (it's compatible) it's documented. That could be an explanation for the fact that Caravaggio's works look so fresh, whereas some other similar chiaroscuro works have darken considerably- their painters must have skipped the tempera underpainting. The inner luminosity of Rembrandt's work is attributed to tempera (fat emulsion) underpainting, an effect that can hardly be recreated with pure oils. Luis, will you like to try a tempera underpainting with oil glazes on top? That will be quite the experiment! I have some experience with tempera, if you need some tips.
Hello Alex: Thank you for sharing your thoughts, and knowledge. I am very much interested in your proposal, however I would need as a starting point an article or book that provides sound scientific evidence and in depth analysis of these ideas on tempera underpaintings by Rembrandt and Caravaggio. I don’t like to share any type of information here on the channel without scientific or historical sources. The National Gallery has done research on the medium of tempera grassa from Italian paintings from the fifteenth and sixteenth centuries but, even modern scientific methods have proven difficult to identify tempera in the paint layers. I want to share this article with you on the subject 👉🏻 www.nationalgallery.org.uk/upload/pdf/higgitt_white2005.pdf
Please feel free to share any references or research so I can look at all the source materials that you’re referring to. Thanks again Alex for sharing your ideas. Best wishes!
@@LuisBorreroVisualArtist Yes, I am familiar with this study. For Caravaggio's use of egg tempera in one particular work you can read James L. Greaves and Meryl Johnson, 'New Findings on Caravaggio’s Technique in the Detroit ‘Magdalen‘', The Burlington Magazine Vol. 116, No. 859, Special Issue Devoted to Caravaggio and the Caravaggesques (Oct. 1974), pp. 564+566-572+591. A more recent compendium and available as PDF online is Phoebe Dent Weil, “Technical Art History and Archeometry II: An Exploration of Caravaggio’s Painting Techniques,” Revista Brasileira de Arqueometria Restauracao e Conservacao, vol. 1, no. 3, (2007): 107. Then you have the National Gallery's study 'Three paintings by Caravaggio' by Larry Keith. About identification of animal based binders in general you have this study 'Mapping of egg yolk and animal skin glue paint binders in Early Renaissance paintings using near infrared reflectance imaging spectroscopy'. About Rembrandt's use of animal binders in his pastose thick white underpainting you can read the excelent 'Paintings in the laboratory: scientific examination for art history and conservation'. It's a multi-study compilation by University of Amsterdam, search in it the study called 'Investigation of the use of the binding medium by Rembrandt', with the sub-section called 'The binding medium of the white, thick paint: proteins'.
Hello Alex: I have read the Detroit Magdalen article! This is great info! I will read the others to find out more on the subject. Thanks for sharing the research!!
Thank you again for the answer Luis and of course for the elaboration on the answer Alex, these statements perfectly complement my information! I am not a graduate of any university, I collected information on my own, but I felt that it was not exactly that, and I would like to paint works that would be technologically equal to the old masters. I think you are a very good teacher!
This is true. There are a lot of scientific sources.
Thank you for your channel. I think every art student and artists needs to see your presentations. These discussions are non-existent in art schools and studios. Even the Royal Academy Schools, London, where I studied don't cover this.
Thank you very much, your information is of incredible value to me
Thank you for commenting Murray!
Excellent technical information. I learned a lot. It makes sense now why lavender spike oil eventually became a known solvent since the flowers were already being used in Spain to help wash oil and they grow there lavender flowers and lavender spikenard would have been in abundant supply.
Thank you Luis.⚘
Muchas Gracias! Very informative.
parabéns Luis
very useful information
Good imformation on painting.
Great video as always Mr. Borrero. Best regards.
Thank you for your feedback Mithat! 🙏🏻
Thank you for this; it is so much easier to understand by hearing and watching. I had read that the washed linseed oil had to be heated to 100C; I misread and heated to 100F. Heating to 100C would be very dangerous, so I am encouraged that you say to heat 'gently' (in double boiler). Would you say there is any ballpark temperature to use for heat bodied oil? and how long do you heat it in the double boiler?
Thank you 😊
Hola Luis!
Muchísimas gracias por tanta y maravillosa información!
¿Sería posible sustituir el aguardiente (etanol al 95% o CH3-CH2OH) por metanol (CH3OH)?
Me refiero para la receta en la mezcla de Pacheco con el aceite y las flores de espliego
Hey Luis I am really looking forward to recreating the walnut drier recipe... I am unsure if the walnut oil used is cold pressed or refined. Could I use either or is one better than the other to use for this specific recipe. Thank you for all the knowledge and all the effort given.
Hi Luis, how long does it generally take the lavender flowers to turn the cloudy oil clear?
Great video, that was a pleasure to watch! What’s your take on a black oil and how would you compare it to the heat bodied oils that you speak about in the video? In my own experience cooking linseed or walnut oil with litharge turns the oil to be deep brown/ coffee like colored (and it doesn’t settle, it just stays like that) and everyone seem to be against it as a very bad medium. I’m very curious what you think about it.
Hello Adam: Thank you for commenting. Boiled oil or Olio Cotto was primarily used as a drier by the old masters. The idea of a painting medium is quite modern. Artists of the past prepared their paints to their liking therefore minimizing the need for excessive use of additives or mediums. Heat bodied oil is not a perfect medium nor is Sun Thickened Linseed oil. Rubens complained about the tendency for Linseed oil to yellow in one of his letters. I do use heat bodied oil, but only sparingly in shadow passages. I have noticed that by washing the oil thoroughly the yellowing can be greatly improved. It’s also important to control the time and temperature of the boiling process to minimize the dark color of the oil.
Dear Luis: Loving your channel!
How long do you leave the lavender flowers in the oil..... Is it days or weeks?
Also, could you not just use camphor which is likely the active ingredient?
hola maestro, tengo una duda en España existe el orujo que también se conoce como agua ardiente, este serviría para el médium con lavanda?
gracias! lo vere detenidamente
Gracias por comentar.
Can you tell me more about adding Lavender flowers to the oil please? Is there a chemical reaction between lavender flowers and the oil that clarifies the oil? Do lavender flowers lighten the oil's color or change drying times .... or do the lavender flowers sink to the bottom and pull the mucilage to the bottom of the jar in the process? ...Dried flowers or fresh soft and moist flowers?
Great video presentation. I'm learning lots --- I have my first batch of salt/sand washed handmade linseed oil bleaching in outside at the moment.
Hi Luis, sorry I missed your presentation. Washing the linseed oil is a very straightforward process but the sun thickening process is not very clear to me: do you place the oil in a tightly sealed jar or do you allow for air circulation?
Hola Javier: You can just put your oil in a glass jar with a piece of light cloth over it. You will need the air to make it thicker. If you keep it closed the oil will bleach in color, but will not thicken. Muchos Saludos..
Thank you for such a valuable presentation. If I may kindly ask... Is it possible to use only refined linseed oil throughout the enitre painting process by alteraing the ratios of oil to solvent in each successive layer? Or is having a thicker different oil for the top layers is a must since the refined linseed oil is rather fluid oil? Any specific oil you may recommend alongside the refined linseed oil in particular, please? Thank you.
Also, are there any consequences to have used solely refined linseed oil and solvent?
Thank you.
Your suggestion is perfect for the bottom layers. A little trick that works great is to leave the refined oil uncapped exposed to air and proceed to use it judiciously in the top layers as you finish the work.
Hi Luis and thank you once again for informative video! Do you have link to that "diagram" where you can see what mediums they have found from different masters and schools of the past? I have read a lot of writings from German conservator Max Doerner (he's from the late 19th and early 20th century), and he describes another technique of purifying linseed oil by warming blanc fixe or baryte white just a bit and then add that to the linseed oil. Then you shake it several times and let it settle down and repeat this couple of times and then there should be more clear oil on top and all the inpurities on the bottom. And then you gather that purified oil from the top and that's it. I haven't tried it myself, but I'm about to. Do you know this method and what do you think of it? And in general, do you know Max Doerner's writings? I know, it's a little older knowledge compared to National Gallery's science but he describes some methods that do correspond with your research and some which don't. I'm not critisizing your methods I'm just interested what you think of them. For example, he speaks quite a lot about resins: especially dammar/mastick varnish and Venetian turpentine, and said these mediums can be found from the old masters' paintings, for example from Rubens. He also speaks for the sun thickened linseed oil, but he is sceptic towards heat bodied oils because of their yellowing.
So I guess my actual question is, if one doesn't use dammar warnish but wants to make his paints transparent enough to make glazes, how it is possible without using too much oil, which can end up yellowing?
Ps. Doerner did recommend dammar varnish, but said that all the mediums should be used sparingly.
Hello Henri: Thank you for sharing your comments. I am aware of Doerner’s writings. However, I am very much interested in using mostly scientific and historical treatises because a lot of authors during the 20th century offered mostly opinions based on observations rather than scientific research. Is important to realize that my live presentation focuses on historical oil painting mediums. If you’re interested in a non yellowing glazing vehicle you can use modern day Liquin. This is a superb medium with non yellowing qualities. Unfortunately the old masters had to use organic materials from nature. These materials are imperfect and they do age and change with time. You can use a highly refined Sun thickened oil and a few drops of spike oil of Lavender and this is as good as it gets for a historic oil glazing medium. The oil will always yellow slightly though.
Walnut Oil is an interesting medium. One company that produces Walnut paints claims that Walnut Oil never cracks. You have mentioned before that Leonardo's paintings are not in good condition because he used Walnut Oil but Caravaggio's paintings all look in immaculate condition with practically no yellowing and he used Walnut Oil. What gives? Do think it's because they used separate grounds and/or substrates? I know Caravaggio favored canvas whereas Leonardo primarily used Wood and Walnut in particular. Love your content and thank you as it's very educational.
hola , Luis
Muchas Gracias por la información.
¿Los cursos que dictas están subtitulados al español?
Hola José: Todos mis cursos en Udemy están dirigidos a un público que habla inglés. Mis cursos en Atelier San Juan son en vivo y están dirigidos a estudiantes que hablan español. Puedes encontrar más información aquí 👉🏻ateliersanjuan.org
I just want to know in order to use the oil that contain lead, I have to let it sit outside until they turn to normal color oil instead of reddish oil? or can I use it when it still have reddish color? Thank you
Maestro gracias miles .Yo estoy que usted dice un libro y allí voy a comprarlo
Hi, Luis, I have a question: when preparing a color for glazing do you first grind the color with oil to a normal pastose consistency and then thin it with the glazing medium or you grind and thin the powder pigment directly and exclusively with the glazing medium? Thanks!
Hello Alex: Thank you for commenting! I usually mull the paint into a pasty consistency, and then I add the glazing medium. This allows for a faster working time instead of having to mull individual amounts of paint for single passages.
@@LuisBorreroVisualArtist Thank you, this is useful. Looking forward for your next live presentation!
Hi Luis, first of all thanks for this precious informations which you share on your channel. I have a question about lavender flower and ethanol recipe. İs glass vessel tightly closed or open in 15 days period?
Hello Onur: I usually put a pice of cloth over the opening. The opening is not tightly sealed at all. The glass vessel is an important factor as it has a very small opening and a round bottom just as Pacheco describes. Hera a sample of the bottle described by Pacheco. 👉🏻colecciones.vivancoculturadevino.es/recurso/redoma/8c80cdd2-0ded-4f8d-b66a-81cb3a4e5d01
@@LuisBorreroVisualArtist Oh I see.. Thank you for answering me. I try this recipe tomorrow. Wish me luck :)
Tengo una petición para el maestro Borrero
Sería bueno que en sus vídeos en inglés pudiese la posibilidad de subtitular al español, máximo siendo su lengua madre. Muchos hispanohablantes amantes de su técnica se lo agradeceriamos
Gracias
Largas investigaciones que cobran vida con el oficio
exelnte canal maestro borrero felicidadesme inscribo de inmediato
Muito obrigado pelos seus comentários Dair Monet. 🙏🏻
Hello Mr.Luis
How to convert flaxseed into oil without a press machine?
Just buy from the health food store
Hello Mr.Luis
Can i use boiled linseed oil as a medium?
And how to boil it?
Thank you so much sir.
Hello Muhammad: Boiling linseed oil is a dangerous affair. My recommendation is to purchase it if you do not have prior experience. If you’re willing to learn, it’s best to start by reading about the process and the safety precautions. The safest way to make it, is to gently boil the oil with lead driers such as litharge or red lead for about an hour. These are very toxic materials, so you have to make sure to use a respirator approved for lead dust handling. You can stir the oil gently with a spoon, and the amount of drier will make a difference in the final product. Most recipes use 1 to 2oz of drier to about half a pound of cold pressed linseed oil. This oil has to settle for about a month before it can be used for painting. You can purchase the ready made “Black oil” material at Zecchi’s 👉🏻 www.zecchi.it/products.php?category=66#
Very thank you for you recommend 👍
Caravaggio used tempera over oil???
@luis Borrero, visual artist
Pietro Annigoni (1910-1988) who taught my teacher used an egg / oil mixture throughout his career.
Hello Cree8vision: Thank you for commenting. I admire Annigoni’s work.
hello! why you have to wait one week? and you shake it everyday?
Hello Maximos: Thank you for your question. Here’s an article with some science behind it. Refer to page 8 on the PDF👉🏻 www.nationalgallery.org.uk/media/15694/white_kirby1994.pdf
👾💪💪💪
43:31 Be careful with the lead compounds they are TOXIC. It's important to follow safety precautions.
Pudieras cambiar la traducción escrita a tu lengua materna
I think you're wrong about Aguardiente. Vodka burns if it is above 50%. So it would only suit some Aguardiente spirits around 50-60%. This means that the alcohol will be under the oil (alcohol below 80%) and not above it, i.e. the lavender flowers will float in the oil and not in the alcohol - as I think.
Hola de nuevo apreciado Luis,
te escribo otra vez más porque inicié el proceso de refinado del aceite de linaza prensado en frío de Kremer con etanol y hojas de lavanda(el de Pacheco), el día 15 de marzo tras ver tu vídeo.
Después de agitar dos veces al día en las proporciones especificadas durante 15 días, al ir a separar las hojas del resto de la mezcla con un colador metálico, el color resultante era bastante oscuro; Por lo que supuse necesitaría reposar para que los residuos de las hojas, que no había conseguido filtrar, se decantasen. Pero una vez pasadas dos semanas, y con los residuos de las hojas separados al fondo del recipiente, el color del aceite sigue siendo, al menos, tan oscuro como un aceite sin refinar.
Me surgen varias preguntas, que, por supuesto, no tienes por qué responder (ya bastante haces por nuestro "gremio"...)
¿Se debe este color resultante en mi aceite, a que el aceite de partida, antes de comenzar con el refinado de Pacheco, debía estar ya refinado previamente con agua y sal?
o por el contrario ¿se debe quizás a que no ha recibido las horas de sol directo suficientes? (lo que sí ha recibido, es la luz indirecta del sol al estar en la ventana de un piso luminoso)
Por otro lado, he de decir que, puesto que previendo que no podría tener acceso al sol directo y la temperatura resultante requerida para el proceso, supuse que; antes de iniciar el proceso podría sustituir esta larga exposición al calor del sol directo con un par de horas de calor al "baño maría", las cuales me aventuré a pensar que debían tener un efecto similar a nivel molecular en la composición del aceite.
Si crees oportuno contestarme te lo agradeceré infinitamente, en cualquier caso, si no, me las arreglaré para poner en marcha estas distintas variables y así averiguar cuál podrá ser la respuesta.
Como siempre, muchísimas gracias por tu labor y perdona la extensión y el atrevimiento.
Hola Jacobo: Gracias por tus comentarios. Hay detalles importantes para esta receta. El etanol tiene que contener más de un 95% por ciento de alcohol. La flores de lavanda deben ser en grano y la proporciónes de aceite y alcohol tienen que ser correctas, además necesitas una redoma de crystal cómo la que aparece en la carátula para exponer el aceite al sol. Las proporciones son las siguientes:
1 libra de aceite
Tres onzas de etanol 95%
Dos onzas de espliego en grano( flores de lavanda)
“Póngase al sol fuerte por quince días, meneándolo dos veces cada día.” Pacheco.
El aguardiente común no tiene la fuerza necesaria para actuar como solvente. Necesitas un destilado muy puro. Necesitas el sol del verano, temperaturas al menos de 94 grados Fahrenheit o más. Suerte!!
@@LuisBorreroVisualArtist
Muchísimas gracias Luis!
Entonces, puesto que he usado esas mismas proporciones, un bote de cristal, etanol a más del 95 por ciento, flores en grano de lavanda, aceite sin refinar prensado en frío de Kremer y han pasado 15 días agitándolo dos veces al día, la única variable que me ha faltado es la del sol del verano, que yo creí podría suplir con el baño maría...
*O ¿crees que también ha podido influir el tipo de aceite? ¿es correcto haber usado "aceite de linaza sueco prensado en frío y sin refinar"? ¿o crees que puede afectar negativamente?*
@@jacoboalcaldegibert1977 El sol caliente es quizás lo más importante de todo.
@@LuisBorreroVisualArtist ok Luis, gracias de nuevo por tu paciencia!
Hello Jacobo, I've had the same problem with this oil (it came out having a tea color) and can't find out what the problem is. Seen as this is a while ago, Did you ever find out what the problem is and solve the problem? Many thanks!
...compared to the zenith of oil technique and materials of the C17 , the C19 is Frankenstein 's laboratory. Michael Harding claims his paint is what the old masters used...but look at his mediums for sale...hmm...someone is bullshitting to the public. How old are these old masters ? Look at Turner's works...they faded a lot.
Great presentation but the Um uh uh...um uh... like uh um .....uh um uhhhhhh was so hard to get through. Please allow some space for your very fast brain to catch up to your mouth.