The techniques of oil painting: What we can learn from the Old Masters

Why has oil painting artists for over five centuries? The answer lies in its unique combination of technical brilliance and artistic expressiveness. Pigments bound in drying oils create that characteristic luminosity that distinguishes masterpieces from Rembrandt to Van Gogh. This time-honored painting technique is rightly considered the pinnacle of classical painting.

The slow drying of oil paints opens up possibilities that other painting techniques can only dream of: time for corrections, room for experimentation, opportunity for perfection.

While the wet-on-wet method impasto creates the powerful textures that bring Van Gogh's sunflowers chiaroscuro, with its strong contrasts of light and dark, stands in contrast to the subtle grisaille technique of the early Renaissance – each method a universe of artistic possibilities.

But what can contemporary artists learn from these Old Masters? Far more than just technical skills. Their methodical approach, their understanding of light and shadow, their patience in building up layers – all of this forms a foundation of timeless pictorial composition that remains valid even today.

Understanding the fundamentals of oil painting

The painter should not merely paint what he sees before him, but also what he sees within himself. If he sees nothing within himself, then he should refrain from painting what he sees before him

— Caspar David Friedrich , German Romantic landscape painter, master of light and symbolism

Understanding the fundamentals means learning the language of oil painting. Without this foundation, even the greatest artistic talent remains silent.

What is oil painting?

Oil painting works on a simple principle: pigments are mixed with drying oils as binders and applied to primed surfaces. Linseed oil, walnut oil, and poppyseed oil form the backbone of this technique, supplemented by safflower oil and sunflower oil. This combination gives oil paints their characteristic consistency and unparalleled workability.

considered the "classical pinnacle" of painting, enjoys a reputation for unsurpassed durability and color brilliance. While Europe has known this technique since the 13th century, traces of it can be found in the Near East dating back to the 7th century.

Jan van Eyck , the 15th-century Dutch master, is among the most important pioneers of this painting technique. His innovations laid the foundation for a development that has inspired artists of every style for centuries.

Why is drying time crucial?

The crucial difference lies in the drying process. Oil paints dry by absorbing oxygen from the surface towards the support – a chemical process that keeps them "open" for hours. This property makes corrections and reworkings possible that would be unthinkable with other painting techniques.

Several factors significantly influence the drying time:

• The type of oils used
• The pigments used
• The subsoil
• Climatic conditions
• The layer thickness

The different drying behavior of the pigments is particularly fascinating. Cobalt, iron cyanide blue, and natural earths dry within 1-2 days, while carbon black and dioxazine require about 14 days. Titanium and zinc pigments, at 3-5 days, fall in the middle range.

A completely dry oil painting takes about a year – especially with thickly applied paint. This characteristic is both a blessing and a curse: it allows for lengthy revisions, but can drive more impatient artists to despair.

'fat on lean' rule explained

"Fat on lean" – this basic rule determines the success or failure of an oil painting. Each new layer of paint must be more oily than the previous one. The reason lies in the chemistry of the drying process.

Oil paint doesn't dry through evaporation like watercolor, but through a chemical reaction with oxygen. During this process, the paint swells. A thin layer on a greasy surface inevitably leads to cracking, as the upper layer tears when the lower layer dries.

The practical implementation is simple: You begin with diluted, lean layers and gradually increase the oil content. When painting in layers, you could start with 100% solvent and then continuously add more oil. Anyone who disregards this rule risks cracked or flaking paint layers.

What do you need for oil painting?

The basic equipment required to get started is manageable:

1. Oil paints : 6-8 colors are sufficient to start with. The primary colors red, yellow, and blue, plus black and white, form the foundation.
2. Brushes : Various sizes and shapes, adapted to the painting surface.
3. Painting surface : Primed canvas, painting board or special oil painting paper.
4. Accessories : Mixing palette, painting knife, solvents such as turpentine, painting mediums such as linseed oil and varnish for sealing.

Oil paints are divided into artist-quality paints with a higher pigment content and more affordable studio paints. Artist-quality paints are more expensive, but their mixing is more predictable and they are both more durable and lightfast.

With this equipment and an understanding of the basic principles, nothing stands in the way of entering the fascinating world of oil painting.

Preparatory techniques of the Old Masters

The exceptional quality and enduring quality of masterpieces by Rembrandt, Leonardo da Vinci, or Jan van Eyck rests on more than just artistic talent. Their methodical preparation of each individual step formed the invisible foundation for paintings that would survive for centuries. This meticulousness was by no means an end in itself, but rather a well-thought-out strategy.

Underpinning as a compositional aid

Rembrandt always began his works with loose preliminary drawings on tinted ground. This underpainting, also "underlining ," established the basic composition and tonal values. He often used monochrome grisaille underpaintings to define light and shadow relationships before the coloring was applied.

The effect of this technique only becomes apparent in the finished work: the underpainting's hues shimmer through the subsequent layers, significantly influencing the overall effect. A gray underpainting makes light areas appear more vibrant, while dark underpainting creates greater depth. Red tones in the underpainting intensify orange areas, while green tones soften red areas.

This first layer was always applied using a loose, flat painting technique – either as a glaze or semi-opaque layer. The masters avoided impasto brushstrokes at this stage, as such textures would have been distracting and visible in later layers.

Primer for better adhesion

“A painting is only as durable as its support” – the Old Masters took this old adage very seriously. Rembrandt preferred a two-layer ground: first a base layer of reddish-brown pigments, followed by a lighter mixture of lead white, charcoal, and umber. This two-tone ground already determined the fundamental mood of his works.

The paint was applied in a circular motion from the center of the image to the edges. This method prevented the canvas from warping, as the primer caused it to contract and stretch evenly. Without this careful preparation, the oil paint would soak into the surface and deplete the binder – with disastrous consequences for the painting's durability.

Sketches and tonal studies

Before the first brushstrokes touched the actual painting, countless preparatory studies were created. Tonal studies in monochromatic shades of gray trained the eye for subtle variations in light and shadow. This concentration on contrasts and transitions, without the distraction of color or pattern, formed the basis for the later realism of her works.

Rough outlines were sketched in charcoal and then lightly smudged, leaving only faint lines visible. Careful brushing away of this charcoal drawing allowed the subsequently applied oil paint to appear unaltered.

These methodical preparations may seem time-consuming, but they created the solid foundation upon which the masterpieces of art history could be built. Even today, these time-tested techniques offer contemporary artists valuable insights for their own practice.

Overview of classic painting techniques

Six classical techniques form the core of oil painting. Each method opens up its own worlds of expression and was developed to perfection by the Old Masters.

Alla prima: Direct painting in one session

Frans Hals revolutionized painting with his direct, impetuous brushstrokes. His alla prima technique – from the Italian "to the first" – turned the traditional layering process on its head. Instead of weeks of preparation, the painting was created in a single, spontaneous, and powerful session.

This method requires courage and determination. Without preliminary sketches or underpainting, paint is applied directly to the canvas. The Impressionists recognized the potential of this technique for their experiments with light – no wonder Monet his water lilies alla prima to capture fleeting light moods.

Glazing technique: The alchemy of light

Rembrandt's secret lay in his glazing technique . Layer upon layer, as thin as tissue paper, he built up his paintings. Light penetrates these transparent layers of paint, is reflected, and creates that mystical depth that made his portraits immortal.

Patience is key. Each layer must dry completely before the next is applied. This technique explains why a single Rembrandt painting took months to complete – and why it still shines brightly after 400 years.

Wet-on-wet: Poetry of fusion

When colors dance, magic happens. In the wet-on-wet technique, moist paints blend directly on the canvas, creating transitions of dreamlike softness. This method demands intuition – too many colors can dull the vibrancy, but when mastered, it creates atmospheres of otherworldly beauty.

Impasto: When paint becomes a sculptural material

Van Gogh piled up paint like a sculptor piles up clay. His impasto textures captured the light and transformed flat canvases into three-dimensional landscapes. The Italian word “impasto” means dough – and indeed, Van Gogh’s sunflowers resemble baked reliefs full of life and movement.

Titian, Rembrandt, and later Monet mastered this technique. Palette knives and coarse brushes became their tools for creating light, shadow, and emotion in three dimensions.

Grisaille: The Power of Reduction

Gray can speak. The grisaille technique deliberately limits itself to shades of gray, black, and white, focusing attention on the essentials: form, light, and composition. It often served as an underpainting for later layers of color, but some masters completed entire works using this reduced palette.

Chiaroscuro: A drama of light and darkness

Around 1600, Caravaggio created a visual language of revolutionary power. His chiaroscuro – the Italian term for “light and dark” – catapulted figures from the deepest blackness into dazzling light. This technique became the language of drama, adopted by Rembrandt, Georges de la Tour, and Diego Velázquez.

The most extreme form of chiaroscuro was called tenebrismo – painting of darkness, in which only a few highlights break through the darkness and tell stories of haunting intensity.

Tools and their application

The right tools determine the character of an oil painting. The difference between a mediocre and an outstanding work of art often lies only in the conscious choice of brushes, palette knives, and other tools.

Brush types and their effects

Four basic brush types define oil painting: flat brushes , round brushes , filbert brushes , and fan brushes . Each creates its own distinctive style. Hog bristle brushes effortlessly handle the thick consistency of oil paint, leaving behind those vibrant textures that give paintings energy. For precise details, artists use soft sable or polecat brushes – they glide smoothly across the canvas and allow for the finest lines.

Brushes develop a personality over time. New brushes create even areas of color, while brushes that have been painted on leave more irregular, vibrant marks. This patina makes them prized tools of experienced painters. Treating them with turpentine after each use ensures their longevity.

Painting knife for texture and structure

Painting knives are far more than mere tools – they are instruments of creation. The wooden handle, the flexible stainless steel blade, the angled shape: everything serves a purpose. Holding the hand parallel to the canvas allows for controlled application of paint and spontaneous texture creation.

These versatile tools do more than just mix colors on the palette. They apply thick paint, scrape away areas, draw sharp lines, or create textured surfaces. The combination of brushstrokes and knife techniques in a single work creates captivating contrasts – a method masterfully employed by Courbet and later by the Impressionists.

Pallets and mixing techniques

The classic wooden pallet in DIN A4 format remains the standard, although modern alternatives made of plastic or disposable paper pallets offer practical advantages. A white pallet is recommended for beginners – it allows for the most accurate color assessment.

Oil paints are not stirred, but rather spread using the flat side of a knife in a back-and-forth motion. This technique prevents air bubbles and preserves color intensity. For more fluid glazing techniques, small glass containers are better suited than a large palette.

your palette clean is not only practical, but artistically essential. Dried paint residue contaminates fresh mixtures and dulls the vibrancy of the colors. A cloth and a little turpentine are all you need – ideally right after painting, while the paints are still soft.

What we can learn from the Old Masters

The abundance I achieve comes from nature, the source of my inspiration.”

— Claude Monet , French painter , founder of Impressionism

Beyond mere technical skill, the Old Masters offer us insights into timeless principles of pictorial composition. Their approach was characterized by methodical diligence and a tireless pursuit of artistic perfection – qualities that can still inspire any serious artist today.

Observation of light and shadow

As early as the 15th century, Leonardo da Vinci luce – the incident light – and lumen , the light emanating from the illuminated object itself. His famous sfumato technique, with its blurred contours, created that smoky, misty atmosphere that still captivates viewers today.

Caravaggio, on the other hand, developed the dramatic tenebrismo: harsh, focused light highlights his figures from the darkness and reveals inner tensions with theatrical force. Rembrandt, in turn, used chiaroscuro effects to make the emotional states of his portrayed subjects visible. Each of these masters understood light not merely as a technical element, but as a language of emotion.

Patience and layering

What they all had in common was their methodical, layered approach. After each layer had completely dried, the application of glazes created that fascinating depth of light that gives oil paintings their special luminosity. Months could be spent working on a single piece – a patience that seems almost anachronistic in our fast-paced times.

This technique required not only time but also discipline. Intermediate drying periods were essential to prevent the dreaded "muddying" of the paints. A lesson in self-control that extends far beyond the realm of painting.

Color choice and symbolism

Natural pigments shone under the microscope like a starry sky made of countless crystals. Their extraordinary brilliance arose from stronger light reflection; moreover, they were significantly more lightfast than artificial pigments. Medieval artists applied their colors pure and unmixed – a purity that followed strict symbolic rules.

Jesus appeared with a golden halo, Mary and Christ wore red and blue robes, while Judas was depicted in yellow. This color symbolism was not accidental, but part of a visual language that every viewer understood.

Technology as a means of expression

Michelangelo, Rubens, Leonardo da Vinci – each developed their own “recipe” , their own unmistakable style. For them, craftsmanship was never an end in itself, but rather a vehicle for artistic expression. The preliminary drawing often constituted half the battle in creating a painting and significantly determined its painterly quality.

These masters teach us: technology without vision remains empty, while vision without craftsmanship is powerless. Only the combination of both elements creates timeless art.

The timeless wisdom of oil painting

Why do some works of art endure for centuries while others are forgotten? The answer lies not only in the choice of technique, but in how artists master it and use it for their expression. Oil painting, with its unique versatility, offers a tool that allows for both spontaneous alla prima works and meticulously planned glazing techniques developed over months.

What distinguished the Old Masters was their uncompromising dedication to quality. Every step of the process—from the priming to the final glaze—was meticulously planned. This methodical approach differentiates masterpieces from mere exercises. Rembrandt spent months on a single portrait; Caravaggio perfected his dramatic use of light through countless studies.

Chiaroscuro, grisaille, impasto – these techniques are far more than historical curiosities. They form a vibrant vocabulary of artistic expression that continues to exert its power today. Each method tells its own story of light and shadow, of texture and depth.

But the most valuable treasure the Old Masters left us lies beyond all technology: their powers of observation. Leonardo da Vinci's precise distinction between incident and reflected light, Rembrandt's psychological insight into his models – these qualities do not arise from brush and paint alone.

Anyone who takes up oil painting today is entering a centuries-old tradition. The tools may have changed, but the fundamental principles remain. Patience in building up layers, respect for the material, reverence for light – these virtues of the Old Masters still lead to compelling results today.

Oil painting demands dedication and time. In return, it rewards the artist with possibilities that no other technique offers: the ability to capture atmosphere, make emotions visible, and make light speak. Every hour of study, every drop of varnish is an investment in this timeless artistic language.

For further information, instructions and beginner's guides on the subject of oil painting, we recommend the following resources:

• malen-am-meer.de/malerei/oelmalerei/trocknungszeiten-von-oelfarben/
• www.oelbilder-oelmalerei.de/ausfuehrlicher-ratgeber-zur-trocknungszeit-von-oelfarben-1-teil/
• www.blog.schnaud.de/2021/05/oelmalerei-fuer-anfaenger-alle-tipps-rund-um-einen-guten-start-in-das-malen-mit-oelfarben/
• royaltalenskreativstudio.de/kreativ-blog/oelmalerei-ein-starter-guide/
• www.blog.schnaud.de/2019/05/oelmalerei-grundausstattung/