Oil paint

The earhest written references to the use of oils as paint media date from the twelfth century. The van Eycks, who traditionally have been credited as the inventors of oil painting, improved the technique to such a degree that oil quickly replaced egg tempera as the prevalent medium. 

A close inspection under normal illumination reveals many indications of the condition of the painting and previous repairs. Also, because oil paints become more transparent with age, pentimenti, which originally would have been invisible after the overpainting, can be observed. Raking light illumination is very useful to determine the extent of cracking, distortions of the support, delaminations of the paint layers, etc. This stage of the examination is often done in close cooperation with styHstic experts. Thus, obvious problematic areas can be identified before the other tests are started. 

Oxidation. Inks that dry by oxidation behave much like oil paint films and dry by means of the reaction of drying oils (qv) with oxygen. They contain metallic driers, which catalyze the absorption of oxygen by the drying oil (see Driers and metallic soaps Paint). 

Paint Formulations. Tables 1 and 2 provide examples of generic water-based latex and solvent-based alkyd oil paints. These formulations exhibit typical proportions of the paint ingredients discussed. 

Air oxidation of dyestuff waste streams has been accompHshed using cobalt phthalocyanine sulfonate catalysts (176). Aluminum has been colored with copper phthalocyanine sulfonate (177,178). Iron phthalocyanine can be used as a drier in wood oil and linseed oil paints (179). 

Ownership of the copyright in a work is distinct from ownership of the material object, ie, the copy or phonorecord, in which the copyrighted work is embodied. The transfer of one does not constitute transfer of the other. Eor example, if a painter sells his or her painting, ie, the material object, such as canvas and oils, the painter does not automatically transfer the copyright in it sale of that copyright, so as to allow reproduction of the oil painting in printed posters, does not transfer the material object. 

Severe corrosion can be caused by organic acid fumes such as acetic or formic acids. These can be liberated by new wood, especially oak, and also by varnishes, glues, urea formaldehyde, plastics, fabrics and drying-oil paints, which can liberate fumes for a considerable time after application ... 

We all have an intuitive feel for complexity. An oil painting by Picasso is obviously more complex than the random finger-paint doodles of a three-year-old. The works of Shakespeare are more complex than the rambling prose banged out on a typewriter by the proverbial band of monkeys. Our intuition tells us that complexity is usually greatest in systems whose components are arranged in some intricate difficult-to-understand pattern or, in the case of a dynamical system, when the outcome of some process is difficult to predict from its initial state. 

Polyunsaturated fats can combine easily with oxygen at the points where there is a double bond between two carbon atoms. This is why they make good antioxidants they combine with the oxygen free radicals so they don t damage other molecules. It is also how oils harden, and is thus important to painters. Oil paints made with linseed oil are almost three-quarters trilinolein. They dry to form a tough plastic film that incorporates the pigments and holds them onto the surface to be painted. 

L. Carlyle 2001, The Artist s Assistant, Oil Painting Instruction Manuals and Handbooks in Britain 1800-1900 with Reference to Selected Eighteenth-Century Sources, Archetype Publications, London. 

Control skin formation as a result of autoxidation of alkyd or oil paint exposed to air. Representative classes of compounds are oximes and antioxidants. 

I realize I m very tired, though why I don t know, and then a voice in my head that sounds like Morgan s says, If you re tired, lie down, so I do, as simple as that, with the wool of the rug tickling my cheek. We borrowed it from Fergus, and it smells faintly of oil paint. 

The prices for raw materials were obtained from the Oil, Paint and Drug Reporter, Aug. 9, 1971,... 

Uemura, R., T. Kameda, K. Kimura, D. Kitamura, and K. Yamasaki (1954), Studies on the Mitsuda-e, a kind of oil-painting, Scientific Papers on Japanese Antiquities and Art Crafts, Vol. 9, pp. 15-21. 

Methyl and ethyl methacrylate polymers, although extensively used in Industry, do not possess the solubility characteristics (low polarity) that would make them appropriate for use over traditional oil paintings and other organic-based museum objects that might be sensitive to polar solvents such as alcohols, ketones and esters. Poly(n-butyl methacrylate), offered as an artists varnish in the late 1930 s, did not become widely accepted in the war-disrupted decade that followed. Accordingly, early in 1951, our laboratory began a detailed study of the higher alkyl methacrylate polymers for potential use as picture varnishes (1). 

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