Oil Painting Technique Research Articles

Technological research of Adalbert Erdelyi’s still life of the post-Budapest period

The study’s relevance lies in obtaining valuable information about Adalbert Erdelyi’s painting, which enhances the understanding of his artwork, supports efforts at accurate attribution, and enriches the study of art history. The purpose of this study was to characterise artist’s painting materials and technique of the post-Budapest period and introduce obtained results into scientific circulation. The research methodology was based on an integrated general scientific approach that combines theoretical and empirical methods, including art-critic and comparative analyses as well as optical and physicochemical methods. X-ray fluorescence analysis and Fourier-transform infrared spectroscopy were used to determine the artist’s pigment palette. Until now, only a few works of Adalbert Erdelyi’s early creative stage have been known and introduced into scientific circulation. A comprehensive study of Adalbert Erdelyi’s still life was carried out. The stylistic and technological features of the painting that were inherent in the post-Budapest period were established. It has been shown that cardboard made from a mixture of rag fibers and wood pulp was used as the painting support. The type of cardboard gluing and fillers were determined. The still life was painted wet-on-wet on the unprimed support without applying underdrawings. The analysis of the organic binder has shown that the painting was executed in the oil painting technique. Pure lead white was identified in white paints. Lead white with an admixture of zinc white, a mixture of lead white and zinc white, chrome yellow (lead chromate), vermillion, alizarin crimson, ocher, Emerald green (copper acetoarsenite), and Prussian blue were found in the paint layer. The identified pigments and a comparative analysis of oil polymerisation in lead white paint allowed us to confirm that the painting was created in 1918. It is shown that the artistic and style characteristics of the painting correspond to Adalbert Erdelyi’s post-Budapest period. Thus, “Still Life with Glasses on a Tray” can be considered the first known image of glasses with water in the artist’s creative heritage. The results of carried out research are an important informative source in the analysis of the artist’s early works and can be useful for art historians a nd curators of museum collections

Optimizing Color Matching and Color Effects in Oil Painting Using Computer Vision Technology

The fusion of traditional oil painting techniques with computer vision technology presents an exciting frontier in the realm of artistic expression. This paper explores the intersection of these disciplines, focusing specifically on optimizing color matching and manipulating color effects in oil painting through computational means. By leveraging algorithms and image processing techniques, artists can enhance their creative process, enabling precise color measurement, nuanced color analysis, and predictive modelling of color combinations' visual impact. Through a comprehensive review of relevant literature, case studies, and practical applications, this paper elucidates the methodologies and advancements driving this convergence. Furthermore, it examines the implications of integrating computer vision into oil painting, offering insights into its transformative potential for artistic practice and aesthetic outcomes. By fostering a deeper understanding of this interdisciplinary intersection, this paper aims to inspire further exploration and innovation at the nexus of art and technology, ultimately enriching the landscape of contemporary artistic expression.

Oil painting within the framework of art education to support local ethnic cultures and preserve cultural heritage in China

The purpose is to compare the development of innovative thinking in two groups of students who learn the intangible cultural heritage of the ancient ethnic group and master oil painting techniques in two formats: distantly and visiting the Miao settlement in the deep southeast of Guizhou. In addition to the traditional learning of oil painting techniques, the students learnt folklore and the cultural heritage of ethnic minorities as a part of the art curriculum. For practice, the control group (96 students) visited the villages of Miao in Guizhou, and the experimental group (96 students) gained experience and knowledge about the Miao ethnic minority distantly, through videos and e-discussions. At the end of the training, the students presented their final oil paintings on the life of the Miao. They have been assessed by teachers and art critics to identify innovative thinking among students as a driving force of creativity. The control group showed higher results on parameters such as Integrity (454 points) and Flexibility (287 points). The high-end result of the control group proved that innovative thinking is best developed by immersing students in the real world of the Miao and allowing them to experiment and feel their works.

성장소설 표지디자인에 나타난 시각적 의미패턴 연구

As Korea grew after liberation, social and cultural changes occurred and were reflected in the content and cover design of coming-of-age novels. In a situation where Korea's bildungsroman is also changing and developing, we found that research on cover design for this was very insufficient, and attempted to study the characteristic semantic system of the cover design of Korean bildungsroman by era. The research method targets the cover designs of 166 coming-of-age novels published from the 1970s to 2023. First, the meaning of keywords and titles by era of the content of the coming-of-age novels is analyzed, and second, the meaning of the cover design of the coming-of-age novels is visualized. Analyze it by dividing it into images, colors, and typography, and check the flow and patterns of change by era. Third, we analyzed the relationship between keywords and visual elements by era in the content of coming-of-age novels. Looking at the analysis results, firstly, the composition of the parts of speech in the title by era appeared to be diversifying and becoming more complex, from 1 type of ‘noun’ structure in the 1970s to 17 types of parts of speech in the 2020s. Second, in terms of images, the oil painting technique of illustrations was used the most, and as the 2000s progressed, the frequency of using the entire cover as an image increased, and the use of stripes also gradually expanded. In terms of color, in the 1970s the hue distribution was medium brightness and low saturation, in the 1990s it was a hue distribution of wide brightness and saturation with warm colors and neutral colors, and in the 2020s the hue distribution was again centered on neutral colors and cool colors with medium brightness and low saturation. appear. In terms of typography, horizontal writing, center alignment, single line, serif, asymmetrical layout, and color changes were used to emphasize headings. Third, the concreteness and abstractness of titles and images were analyzed. In the 1970s, abstract expressions were very high, and concrete expressions were used more in the 2000s. In terms of visualization of the title, the average matching rate was 63%, and it was analyzed that the specificity of the title affects image visualization. In general, keyword visualization was relatively high in the 1970s, but the matching rate gradually decreased thereafter.

Collection of Works by the Symbolist Artist Mykhailo Sapozhnykov in Collection of Dnipro Art Museum

The purpose of the article is to analyse and systematise the collection of paintings and drawings by the symbolist artist Mykhailo Sapozhnykov (1871–1937) in the Dnipro Art Museum, to provide a substantiated account of history of the collection, and to clarify the peculiarities of the process of its formation. The research methodology is based on the application of a systematic approach in combination of such general scientific and special methods of cognition as analytical, historical and chronological, archival heuristics, systematisation and generalisation, which made possible to thoroughly consider the problem and formulate reasoned conclusions. The scientific novelty of the article lies in a comprehensive approach to the analysis and generalisation of a number of issues related to the content and meaning of the collection of Mykhailo Sapozhnykov's artworks, as well as the role of key figures in the history of forming the collection. Conclusions. According to the results of the scientific research, the quantitative and genre-themed composition of the collection of works by Mykhailo Sapozhnykov from the collection of the Dnipro Art Museum, which, as of January 1, 2023, includes 272 items of the main fund, was established. The art pieces of the collection belong to safekeeping groups of paintings and drawings. The artworks are made in tempera and oil painting techniques, as well as original and printed graphics. According to the genre and thematic properties, respectively, the following groups of works are distinguished: symbolist paintings, realistic landscapes, portraits, and self-portraits. The artworks related to the process of creating the artist's symbolist paintings is reasonably distinguished, the composition and content of this group of works are analysed. Figures who played key roles in the history of the collection are identified: Leonid Sapozhnykov, the artist's son and the donor, Semen Shylo and Volodymyr Kulichykhin, the museum’s chief curators. Key words: Mykhailo Sapozhnykov, symbolism, painting, graphics, the first quarter of the 20th century, Dnipro Art Museum, collection.

On the Combination of Oil Painting Techniques and Modern Illustration Art

Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color theory and creative techniques. Impressionism emphasized the intuitive observation and real performance of the painting object. Since then, painting is no longer limited to the spiritual transmission of the author, and "what you paint is what you see" has gradually become one of the creation principles of Western oil painting. This paper analyzes the paintings of famous Impressionist painters with examples, sums up how Impressionist paintings skillfully use light, shadow and color to create, and discusses its referential significance for modern illustration.

Retracted: Visual Planarization in Oil Painting Techniques in Digital Information Age

Retracted: Visual Planarization in Oil Painting Techniques in Digital Information Age

Visual Planarization in Oil Painting Techniques in Digital Information Age

The arrival of the digital information age has realized the transformation of people’s production and lifestyle, which has also promoted the vigorous development of the art field. At present, the application of informatization in oil painting techniques is increasing. The purpose of this paper is to realize the research on the visual planarization of oil painting techniques in the digital information environment to promote the ecological development of the computer and art field. By using the advanced methods and technologies of its information display, this paper proposed the use of image processing algorithms in the digital information age to guide the integration of digital information technology and oil painting techniques. This helped to analyze and solve objective problems such as the profound meaning of the objective existence in the art field and the inability to understand the emotion in it. It can be seen from the analysis of the oil painting color model that, in the RGB model, when the wavelength is within a certain range, it can be used. But when the wavelength is between 444 nanometers and 526 nanometers, the red intensity is too low. That is to say, it can not effectively express its corresponding color in this wavelength range. This model is very challenging. In the XYZ color model, when the wavelength is in a certain region, the output of red light becomes a value less than 0. Any color in this space can be well represented by a linear combination of X, Y, and Z. Therefore, the study of visual flattening of oil painting is very important in the field of art.

The Golden Age of History Painting of the People's Republic of China (1949–1966): Origins, Searches, Achievements

Since the founding of the People's Republic of China, paintings of the history genre were considered mainly as a tool for implementing state tasks. The golden age of Chinese history painting was between 1949 and 1966. During this period, the political demands of the authorities, whose primary focus was on the themes of the revolutionary struggle, the most important historical events and characters, contributed to the active development of history painting, which became one of the foundations of the fine arts of China. The characteristic features of the golden age of Chinese history painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of dominating positions of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. Since 1950, Chinese fine art had been under the powerful influence of Soviet art. The PRC borrowed the system of higher art education from the Soviet Union. Numerous Soviet publications on the history and theory of art, textbooks, and critical articles were translated into Chinese. Owing to large-scale exhibitions of Soviet art, Chinese masters began to study the works of Soviet socialist realism, which created the basis for the "creation of socialist art". Due to cultural exchange with the Soviet Union, the oil painting technique became widespread in China as well as a new creative method - realism, recognised as the main direction of Chinese painting. Considerable merit in the formation of new principles of Chinese painting belongs to the work of Soviet professors who taught Chinese artists in oil painting at the Central Institute of Fine Arts in Beijing. Among them, we especially note K.Maksimov, a famous Soviet artist and professor at the Moscow Surikov State Art Institute. In addition, in the USSR in 1952, the first group of Chinese students was sent to study at the Repin Institute of Painting, Sculpture and Architecture by order of the Chinese government. It should be noted that later, in their homeland, they headed the leading art universities in China. Thus, outstanding works of Chinese history painting on social and revolutionary themes appeared, which immediately began to be regarded as innovative, taking a dominant place in exhibitions and permanent expositions of new museums that were actively created during this period in the PRC. The spread of the theory of Soviet socialist realism accelerated the development of oil painting in the PRC. It contributed to the fact that realism became the main direction of painting in the second half of the 20th century.

Italian Influence in a Portuguese Mannerist Painting (Part II): A Matter of Image or a Matter of Technique?

ABSTRACT The panel depicting The Descent from the Cross, painted in 1620 by the Portuguese artist Pedro Nunes (1586-1637), shows a clear Italian formal influence. The painter’s colour palette was identified in another paper. The panel is now investigated from a technical perspective, discussing aspects related to the support, preparatory system, and paint layer build-up. The research is based on the visual inspection of the painting’s surface with complementary imaging techniques and on the analysis of the materials from the preparatory layers with microscopic and spectroscopic techniques. The characterisation of the painting technique revealed an ingenious use of colour that is based on the understanding of the optical and handling properties of oil paint. This knowledge is illustrated by the painter’s ability to exploit and combine a range of different oil painting techniques, such as glazing, scumbling, wet-in-wet, or wet-in-dry painting; by his formulation of a wide variety of pigment mixtures; and by his use of diverse and often complex layering systems - some quite unconventional for Portuguese painting practice. The material and technical originality of this painting clearly reflects Nunes’ international Roman experience and his desire to update the Portuguese mainstream practice of his time.

An Investigation of the Grounds in Nineteenth-Century Chinese Export Oil Paintings

ABSTRACT This article summarises the findings of the first technical art historical study conducted on the oil paintings of nineteenth-century Chinese painters. Twelve paint cross-sections from export oil paintings were examined and compared in order to establish the painters’ use of materials to make the preparatory layers of paintings. The research focuses on the characteristics of the composition of the ground and structure of the build-up ground layers. Attenuated total reflection (ATR) in conjunction with Fourier transform infrared spectroscopy (FTIR) and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX) were performed to analyse the pigments, fillers, binding media, and additives used in the preparatory layers. The findings are also considered in relation to what is known about Chinese export oil painting techniques and materials of the era.

Kuzey Rönesansı’nda Yenilikçi Bir Ressam: Jan Van Eyck

With the Renaissance, societies have a wide variety of options with different perspectives on life and accordingly. It allows building and building the development in chapters 14 and 16. The Renaissance, which played an important role in the system and life of the society, must have been completed in the 16th, 14th and 14th centuries. Changes, techniques and development of art in its own period in the developmental stages of the Renaissance. Renaissance performances from the Northern Renaissance, illustrated shows, experimental images, and oil painting techniques are the supporting arts. It is aimed at advanced understandings, contemporary understandings, contemporary understanding and, in parallel, the 15th century understanding of life and art of the Renaissance. In general, the styles of those who are thought to be critically evaluated in Flemish Art are emphasized. Focus on the product and quarry in Eyk work van. It will be applied in the application of the work done and the work done. We invite you to Northern Renaissance for a naturalistic understanding.

An Efficient Reversible Digital Oil Painting Technique for Smartphone and Tablet Users

With the increase in mobility in technology, artists are looking for ways to create paintings using their tablets and smartphones while on the move. Digital oil painting is a revolutionary technique where an artist uses digital paintbrush to simulate the traditional bristle paintbrush of a painting to get an oil paint image. In this article, we propose a novel realistic technique for reversible digital oil painting to accelerate the users to (re)paint an oil paint image to convey the surrounding atmosphere, express their emotions and feelings, or showcase a time of day or type of weather through that painting. Realism is all about accuracy. To repaint, the original image is retrieved from the existing oil paint image by reversing the pixels to its original value. We derive a mathematical expression to determine the probability of a pixel, with a set of neighbor pixels, being oil painted to get an oil paint image of the desired quality, which reduces the time and space complexities of the technique. We also develop prototypes on Android, Windows, and Ubuntu operating systems that successfully implement the proposed technique.

Brief analysis of oil painting techniques - takes the "tree" as an example

In the painting process of oil painting, oil painting techniques are an important factor of oil painting expression, but it is not easy to use good techniques, from the 15th century. The development of the Netherland School of Painting represented by Fanke has developed a lot of techniques, which increases the difficulty for learners to learn systematically.So this article is called a "tree." For example, the drawing method, materials and tools.

Portreti slikani preko fotografije na platnu kao tehnika izrade portreta 19. veka

The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a status symbol was very tempting. In order to respond to such requests from clients, photographic studios teamed up with painters to create oil portraits painted from photography made on canvas. Such portraits became a substitute for classic painted portraits, but they were created faster and were less expensive. Often portraying important historical figures, they have found their place in museum collections. In addition to documentary value, they are also important for the history of art techniques, due to the specific way of production. Despite their popularity at the time of their creation, modern analyses of oil painted portraits made from photography on canvas are rare, and have been published mostly in conservation journals. After the introduction to the techniques and materials described in the literature, the paper presents two oil portraits from a photography made on canvas: a portrait of Isaija Oluić, abbot of the Krupa Monastery, from the fund of the Dalmatian Diocese of the Serbian Orthodox Church, made by Vlaho Bukovac, and a portrait of Nika Mihajlović, prominent Sombor lawyer and philanthropist, from the fund of the City Museum in Sombor, painted by Uroš Predić. The analytical approach to the identification of oil painting techniques from photography (optical analysis and the analysis of materials) was pointed out, as well as the fact that they are sensitive objects in museum collections, the protection of which should be given due attention.

Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

Discovering the evolution of Jacques-Louis David\u2019s portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier

Jacques-Louis David’s (1748–1825) iconic portrait of Antoine Laurent Lavoisier (1743–1794) and Marie-Anne Lavoisier (Marie-Anne Pierrette Paulze, 1758–1836) has come to epitomize a modern couple born of the Enlightenment. An analytical approach that combined macro-X-ray fluorescence with the examination and microanalysis of samples by Raman spectroscopy and scanning electron microscopy-energy dispersive X-ray spectrometry to investigate imprecise indications of changes to the composition observed by microscopy and infrared refectography allowed the visualization of a hidden composition with a high level of detail. The results revealed that the first version depicted not the progressive, scientific-minded couple that we see today, but their other identity, that of wealthy tax collectors and fashionable luxury consumers. The first version and the changes to the composition are placed in the context of David’s mastery of the oil painting technique by examining how he concealed colorful features in the first composition by using paint mixtures that allowed for maximum coverage with thin paint layers. The limitations of the analytical techniques used are also discussed. To our knowledge, this is the first in-depth technical study of a painting by J.-L. David.

Xie-yi Traditions in Modern Chinese Still Life in Oil Painting Technique

Xie-yi Traditions in Modern Chinese Still Life in Oil Painting Technique

İzmir’de bir Osmanlı dönemi konağının tavan ve duvar resimlerinin yapım tekniği ve malzeme özellikleri

Kültür varlıklarımızın en hassas bileşenlerinden olan duvar resimlerinin korunmasında, resimlerin özgün malzeme özellikleri ve yapım tekniğinin belirlenmesi önemli aşamalardan biridir. Bu çalışma kapsamında İzmir Bayraklı’da yer alan Yahya Hayati Paşa Konağı’nın duvar ve tavan resimlerinin yapım tekniği ve malzeme özellikleri 2010 yılında yapıya ağır hasar veren yangın öncesinde alınan örnekler üzerinde gerçekleştirilen analizler ile belirlenmiştir. Duvar resimlerinin sıva ve astar tabakalarının, boyayı oluşturan bağlayıcı malzeme ile pigmentlerin mikro-yapısal özellikleri, mineralojik ve kimyasal kompozisyonları; optik mikroskop, kızılötesi spektroskopisi, X ışınları kırınım cihazı (XRD) ve EDS üniteli taramalı elektron mikroskobu kullanılarak tespit edilmiştir. Çalışma, resimlerin kireç sıva üzerinde yer alan organik bağlayıcı ve çeşitli beyaz pigmentlerden oluşan hazırlık tabakaları üzerinde yağlı boya tekniği ile uygulandığını göstermiştir. Resimlerin yapımında bitkisel yağın rengini beyazlatmak amacıyla çinko oksit (ZnO), kurşun beyazı (PbCO3) ve baryum beyazı (BaSO4) kullanıldığı belirlenmiştir. Resimlerin yapımında kırmızı için vermiyon (HgS), mavi için ultramarin (Na6-10Al6Si6O24S2-4), yeşil için zümrüt yeşili (3Cu(AsO2)2.Cu(CH3COO)2) ve kahverengi için kırmızı okra (Fe2O3, kil mineralleri) kullanıldığı tespit edilmiştir. Bu ana pigmentler dışında, dolgu malzemesi olarak kullanılan baryum beyazı (BaSO4) ve kurşun kırmızısı pigmentinin (Pb3O4) bozulma ürünlerinden biri olan anglezit (PbSO4) tespit edilmiştir. Çalışma, yanarak yok olmuş bir kültür varlığının süslemelerinin yapım tekniği ve malzeme özelliklerinin belgelenmesi ile yapının onarımı aşamasına veri oluşturacaktır.

Leonardo e il ghiaccio: l’interesse di Leonardo per l’arte fiamminga e viceversa

Leonardo and ice: Leonardo’s interest for the Flemish art and vice versa The aim of the article is to underscore the importance of cultural exchange: on the one hand Leonardo’s knowledge of Flemish oil painting techniques at the beginning of his career made it possible for him to improve his style; on the other hand his influence extended in an early stage to the Low Countries, and concerned thematical choices. The first part of the article focuses on the period in which Leonardo, during his apprenticeship in the workshop of Andrea del Verrocchio, became aware of the significance of the new oil technique, which had been imported in Florence due to economic contacts with Bruges in the fifteenth century and the role of Florentine families such as the Medici, the Portinari and the Pagagnotti. The possibilities of the new oil painting technique were explored in Florence in the workshops of Verrocchio and the Pollaiolo brothers. A signature in the Codice Atlantico testifies that Leonardo himself was acquainted with members of the Portinari family, active in Bruges. Knowledge of Flemish art became essential in technical and formal aspects of his first female portrait, the Portrait of Ginevra Benci, which had been ordered by Bernardo Bembo as a pendant to his own portrait, painted by Hans Memling during his mission in Bruges as an ambassador to the Venetian Republic. The second part intends to invert the focus and to study Leonardo’s influence on Flemish art by presenting several paintings on the subject of Jesus and Saint John embracing. This iconographic subject originates from a composition, once in the royal collection in Mechelen, of Leonardo’s pupil, Marco D’Oggiono. The Flemish painter Joos van Cleve probably saw it and started to produce many paintings on this subject in his workshop in Antwerp. These works were so successful that over fifteen of them survive in different collections in Europe, and constitute a good example of Flemish artists’ interest in Leonardo’s art.