oil-painting-artwork

Oil painting artwork

World oil painting artwork



Rembrandt van Rijn. Detail of SELF-PORTRAIT. 1663. Oil on canvas. Full painting 45' x 38'.(source; http://www.fineartprintsondemand.com/artists/rembrandt/self_portrait_1660.htm; Nov 05 2010)



Grace Hartigan. Summer Street. 1956. Oil on canvas. Corcoran Gallery of Art. (source; http://theblindswimmer.com/tag/painter/; Nov 05 2010)



Joan Mitchell. Chord VII. 1987. Oil on canvas. 7" 10' x 6" 6'. (Source; http://forums.myspace.com/p/2437059/29455580.aspx?fuseaction=forums.viewpost; Nov 05 2010)



Vincent van Gogh. The Starry Night. 1889. Oil on canvas. 73.7cm x 92.1cm. The Museum of Modern Art, New York. (Source; OVIRK O.G., STINSON R.E., WIGG P.R., BONE R.O., and CAYTON D.L. Art Fundamentals - Theory and Practice. Tenth edition. New York: MacGraw-Hill Companies Inc., 2006)



Jackson Pollock. Autumn Rhythm. 1957. Oil on canvas. 8' 3" x 17' 3". The Museum of Modern Art, New York. (Source; OVIRK O.G., STINSON R.E., WIGG P.R., BONE R.O., and CAYTON D.L. Art Fundamentals - Theory and Practice. Tenth edition. New York: MacGraw-Hill Companies Inc., 2006)



Leonardo da Vinci. Mona Lisa. 1503-6. Oil on panel. 76.2cm x 52.5cm. Louvre, Paris, France/ The Brigeman Art Library. (Source; OVIRK O.G., STINSON R.E., WIGG P.R., BONE R.O., and CAYTON D.L. Art Fundamentals - Theory and Practice. Tenth edition. New York: MacGraw-Hill Companies Inc., 2006)



Paul Cezanne. Still Life with Apples. 1875-77. Oil on canvas. 19cm x 27.3cm. Keynes Collection. (Source; OVIRK O.G., STINSON R.E., WIGG P.R., BONE R.O., and CAYTON D.L. Art Fundamentals - Theory and Practice. Tenth edition. New York: MacGraw-Hill Companies Inc., 2006)

Malaysian oil painting artwork



Abdul Latiff Mohidin. Pago-Pago. 1964. Oil on canvas. 100cm x 100.3cm. Malaysian National Art Gallery Collection. (Source; T.K. SABAPATHY (Editor). Vision And Idea - ReLooking Modern Malaysian Art. Kuala Lumpur: Malaysian National Art Gallery, 1994)



Mohd Hoessain Enas. Minah. 1958. Oil on canvas. 47cm x 36.4cm. Malaysian National Art Gallery Collection. (Source; T.K. SABAPATHY (Editor). Vision And Idea - ReLooking Modern Malaysian Art. Kuala Lumpur: Malaysian National Art Gallery, 1994)



Lu Chon Min. Fishing Village. 1961. Oil on canvas. 69.1cm x 57.6cm. Malaysian National Art Gallery Collection. (Source; T.K. SABAPATHY (Editor). Vision And Idea - ReLooking Modern Malaysian Art. Kuala Lumpur: Malaysian National Art Gallery, 1994)



Anuar Hj. Abdul Rashid. Birth of Inderaputra. 1978. Oil on canvas. 244cm x 306cm. Malaysian National Art Gallery Collection. (Source; T.K. SABAPATHY (Editor). Vision And Idea - ReLooking Modern Malaysian Art. Kuala Lumpur: Malaysian National Art Gallery, 1994)



Lai Foong Moi. Morning in The Kampong. 1959. Oil on canvas. 100.6cm x 52.9cm. Malaysian Art Gallery Collection. (source; REDZA PIYADASA. Masterpieces form the National Art Gallery of Malaysia. Kuala Lumpur: Malaysian National Art Gallery, 2002).



Tew Nai-Tong. Terengganu Fishing Village. 1981. Oil on canvas. 90cm x 90cm. Malaysian Art Gallery Collection. (source; REDZA PIYADASA. Masterpieces form the National Art Gallery of Malaysia. Kuala Lumpur: Malaysian National Art Gallery, 2002).



Tay Hooi Keat. Plantscape. 1959. Oil on canvas. 84cm x 62cm. Malaysian Art Gallery Collection. (source; REDZA PIYADASA. Masterpieces form the National Art Gallery of Malaysia. Kuala Lumpur: Malaysian National Art Gallery, 2002).



Syed Ahmad Jamal. Nipah Palms. 1957. Oil on canvas. 89cm x 58cm. Malaysian Art Gallery Collection. (source; REDZA PIYADASA. Masterpieces form the National Art Gallery of Malaysia. Kuala Lumpur: Malaysian National Art Gallery, 2002).



Amron Omar. Bersilat 3. 1980. Oil on canvas. 164cm x 182cm. Malaysian Art Gallery Collection. (source; REDZA PIYADASA. Masterpieces form the National Art Gallery of Malaysia. Kuala Lumpur: Malaysian National Art Gallery, 2002).

oil-painting-mezan

Oil Painting

What is Oil Painting?, refer to Duane Preble and friends in Artforms, in the Western world, oil paint has been favorite medium for five centuries. Pigments mixed with various vegetable oils, such as linseed, walnut, and poppy seed, were used in the Middle Ages for decorative purposes, but until the fifteenth century did Flemish painters fully develop the used of paint made with linseed oil pressed from the seeds of the flax plant. In this early period, artist applied oil paint to wood panels covered with smooth layers of gesso, as in the older tradition of tempera painting.

The van Eyck brothers, Hubert and Jan, are credited with developing oil painting techniques and bringing them to the first perfection. They achieved glowing, jewel-like surfaces that remain amazingly fresh to the present day.

Oil has many advantages not found in other traditional media. Compared to tempera, oil paint can provide both increased opacity-which yields better covering power-and, when thinned, greater transparency. Its slow drying time, first considered a drawback, soon proved to be a distinct advantage,permitting strokes of color to be blended and repeated changes to be made during the painting process. Unlike pigment in tempera, gouache, and acrylic, pigment colors in oil change little when drying; however, oil medium (primarily linseed oil) has tendency to darken and yellow slightly with age. Because of the flexibility of dried oil film, sixteenth-century Venetian painter who wished to paint large pictures could replace heavy wood panels with canvas stretched on wood frames. A painted canvas not only is light in weight, but also can be unstretched and rolled (if the paint layer is not too thick) for transporting. Canvas continues to be the preferred support for oil paintings.

Oil can be applied thickly or thinly, wet into wet or wet onto dry. When a work is painted wet into wet and completed at one sitting, the process is called the direct painting method.

Rembrandt used this method in his (self-portrait). The detail here shows how the impasto of light and dark paint both defines a solid-looking head and present the incredible richness of Rembrandt's brushwork.

The wide range of approaches possible with oil paint becomes apparent when we compare van Eyck's subtly glazed colors with the impasto surfaces of Rembrandt.

In one sense, the story of painting is about the visual magic that people around the world have been able to conjure up with various paint media. Within a single painting, a unique world is created; but that world is often influenced by, if not inspired by, the artist's own daily life. Such is the case with Grace Hartigan's (City Life). A street vendor fruit stand is the jumping-off point for an exuberant feast of dancing lines and colorful shapes piled one on top of another. Hartigan's sensitivity to sumptuous color and her skill with bold brush work heightened her expressive response to the lively, moving complexity of her urban environment.

Joan Mitchell used oil paint to spontaneously re-create emotional states in abstract visual form. (Border) is painted very loosely in complex mix of rich, sensuous colors. The composition is subtly symmetrical (note the light vertical green stripe near the top center), and colors are applied with a combination of care and abandon. To arrive at the artist avoided overmixing her colors. She also allowed the texture of the paint to play a major role in the work by varying its thickness over a wide range. she made the yellow strokes with dry brush; she allowed some of the blues to run; reds give accents at carefully selected points. We can actually follow the creation of this work, layer by layer and color, as we look at this embodiment of warm-even exciting-mood (Preble et. el., 2002: 130).

Bibliography
1. PREBLE D., PREBLE S., and FRANK P. Artform. Seven Edition. London: Prentice Hall International (UK) Limited, 2002.