Oil painting

Oil on canvas redirects here. For the album, see Oil on paint eventually became the principal medium used for
Canvas. creating artworks as its advantages became widely known.
Oil painting is the process of painting with pigments The transition began with Early Netherlandish painting in
Northern Europe, and by the height of the Renaissance oil
painting techniques had almost completely replaced the
use of tempera paints in the majority of Europe.
In recent years, water miscible oil paint has come to
prominence and, to some extent, replaced traditional oil
paint. Water-soluble paints contain an emulsier that al-
lows them to be thinned with water rather than paint thin-
ner, and allows very fast drying times (13 days) when
compared with traditional oils (13 weeks).

1 Techniques

Mona Lisa, Leonardo da Vinci, c. 150306

with a medium of drying oil as the binder. Commonly

used drying oils include linseed oil, poppy seed oil, walnut
oil, and saower oil. The choice of oil imparts a range
of properties to the oil paint, such as the amount of yel-
lowing or drying time. Certain dierences, depending
on the oil, are also visible in the sheen of the paints. An
artist might use several dierent oils in the same paint-
ing depending on specic pigments and eects desired.
The paints themselves also develop a particular consis-
Self-portrait, at work, Anders Zorn, 1897
tency depending on the medium. The oil may be boiled
with a resin, such as pine resin or frankincense, to create Traditional oil painting techniques often begin with the
a varnish prized for its body and gloss. artist sketching the subject onto the canvas with charcoal
Although oil paint was rst used for Buddhist paintings or thinned paint. Oil paint is usually mixed with linseed
by Indian and Chinese painters in western Afghanistan oil, artist grade mineral spirits, or other solvents to make
sometime between the fth and tenth centuries,[1] it did the paint thinner, faster or slower-drying. (Because these
not gain popularity until the 15th century. Its practice solvents thin the oil in the paint, they can also be used to
may have migrated westward during the Middle Ages. Oil clean paint brushes.) A basic rule of oil paint application

1
2 3
is 'fat over lean'. This means that each additional layer of
paint should contain more oil than the layer below to allow
proper drying. If each additional layer contains less oil,
the nal painting will crack and peel. This rule does not
ensure permanence; it is the quality and type of oil that
leads to a strong and stable paint lm. There are many
other media that can be used with the oil, including cold
wax, resins, and varnishes. These additional media can
aid the painter in adjusting the translucency of the paint,
the sheen of the paint, the density or 'body' of the paint,
and the ability of the paint to hold or conceal the brush-
stroke. These aspects of the paint are closely related to
the expressive capacity of oil paint.
Traditionally, paint was transferred to the painting sur-
face using paintbrushes, but there are other methods, in-
cluding using palette knives and rags. Oil paint remains
wet longer than many other types of artists materials, en-
abling the artist to change the color, texture or form of the
gure. At times, the painter might even remove an entire
layer of paint and begin anew. This can be done with
a rag and some turpentine for a time while the paint is
wet, but after a while the hardened layer must be scraped.
Oil paint dries by oxidation, not evaporation, and is usu-
ally dry to the touch within a span of two weeks (some
colors dry within days). It is generally dry enough to be
varnished in six months to a year. Art conservators do
not consider an oil painting completely dry until it is 60
to 80 years old.
2 History
Self-portrait of Rembrandt, 1630. An example of oil painting on
copper.
INGREDIENTS
Although the history of tempera (pigment mixed with
either egg whites or egg yolks, then painted on a plas-
tered section) and related media in Europe indicates
that oil painting was discovered there independently,
there is evidence that oil painting was used earlier in
Afghanistan.[2][3][4][5] Outdoor surfaces and surfaces like
shieldsboth those used in tournaments and those hung
as decorationswere more durable when painted in oil-
based media than when painted in the traditional tempera
paints.
Most Renaissance sources, in particular Vasari, credited
northern European painters of the 15th century, and Jan
van Eyck in particular, with the invention of painting
with oil media on wood panel supports (support is the
technical term for the underlying backing of a painting).
However, Theophilus (Roger of Helmarshausen?) clearly
gives instructions for oil-based painting in his treatise, On
Various Arts, written in 1125. At this period, it was prob-
ably used for painting sculptures, carvings and wood t-
tings, perhaps especially for outdoor use. However, early
Netherlandish painting in the 15th century was the rst
to make oil the usual painting medium, and explore the
use of layers and glazes, followed by the rest of Northern
Europe, and only then Italy.
Early works were still panel paintings on wood, but
around the end of the 15th century canvas became more
popular as the support, as it was cheaper, easier to trans-
port, allowed larger works, and did not require compli-
cated preliminary layers of gesso (a ne type of plas-
ter). (This style was known as a fresco painting: apply-
ing gesso, then painting over with tempera paint) Venice,
where sail-canvas was easily available, was a leader in the
move to canvas. Small cabinet paintings were also made
on metal, especially copper plates. These supports were
more expensive but very rm, allowing intricately ne de-
tail. Often printing plates from printmaking were reused
for this purpose. The popularity of oil spread through
Italy from the North, starting in Venice in the late 15th
century. By 1540, the previous method for painting on
panel (tempera) had become all but extinct, although Ital-
ians continued to use fresco for wall paintings, which was
less successful and durable in damper northern climates.
Brands of oil paint include: Winsor and Newton, Sen-
nelier, Gamblin, Rembrandt, Lukas 1862, Lukas Studio,
Old Holland, Michael Harding and Charvin. It is im-
portant that artists understand that not all oil colors are
created equal. Many student brands on the market are
really hobby colors. Water-soluble oil colors include:
Winsor and Newton Artisan, Lukas Berlin and Woil wa-
ter mixable oil colors.
3 Ingredients
The linseed oil itself comes from the ax seed, a common
ber crop. Linen, a support for oil painting (see rele-
 3

Flax seed is the source of linseed oil.

vant section), also comes from the ax plant. Saower oil

Splined canvas
or the walnut or poppyseed oil are sometimes used in for-
mulating lighter colors like white because they yellow
less on drying than linseed oil, but they have the slight an acrylic binder. It is frequently used on canvas, whereas
drawback of drying more slowly and may not provide the real gesso is not suitable for canvas. The artist might ap-
strongest paint lm. Linseed oil tends to dry yellow and ply several layers of gesso, sanding each smooth after it
can change the hue of the color. has dried. Acrylic gesso is very dicult to sand. One
Recent advances in chemistry have produced modern manufacturer makes a sandable acrylic gesso, but it is
water miscible oil paints that can be used and cleaned up intended for panels only and not canvas. It is possible to
with water. Small alterations in the molecular structure make the gesso a particular color, but most store-bought
of the oil creates this water miscible property. gesso is white. The gesso layer, depending on its thick-
ness, will tend to draw the oil paint into the porous sur-
An even newer type of paint, heat-set oils (which are ac- face. Excessive or uneven gesso layers are sometimes vis-
tually thermoplastic) remain liquid until heated to 265 ible in the surface of nished paintings as a change thats
280 F (130138 C) for about 15 minutes. Since the not from the paint.
paint otherwise never dries, cleanup is not needed (except
when one wants to use a dierent color with the same Standard sizes for oil paintings were set in France in the
brush). Although not technically true oils (the medium 19th century. The standards were used by most artists,
is an unidentied non-drying synthetic oily liquid, em- not only the French, as it wasand evidently still is
bedded with a heat sensitive curing agent), the paintings supported by the main suppliers of artists materials. Size
made with this paint resemble oil paintings and are usu- 0 (toile de 0) to size 120 (toile de 120) is divided in sepa-
ally shown as such. rate runs for gures (gure), landscapes (paysage) and
marines (marine) that more or less preserve the diagonal.
Thus a 0 gure corresponds in height with a paysage 1
and a marine 2.[6]
4 Supports for oil painting
Although surfaces like linoleum, wooden panel, paper,
Traditional artists canvas is made from linen, but less ex- slate, pressed wood, Masonite, and cardboard have been
pensive cotton fabric has gained popularity. The artist used, the most popular surface since the 16th century has
rst prepares a wooden frame called a stretcher or been canvas, although many artists used panel through the
strainer. The dierence between the two names is 17th century and beyond. Panel is more expensive, heav-
that stretchers are slightly adjustable, while strainers are ier, harder to transport, and prone to warp or split in poor
rigid and lack adjustable corner notches. The canvas is conditions. For ne detail, however, the absolute solidity
then pulled across the wooden frame and tacked or sta- of a wooden panel has an advantage.
pled tightly to the back edge. Then the artist applies a
"size" to isolate the canvas from the acidic qualities of the
paint. Traditionally, the canvas was coated with a layer 5 Process
of animal glue (modern painters will use rabbit skin glue)
as the size and primed with lead white paint, sometimes Oil paint is made by mixing pigments of colors with an
with added chalk. Panels were prepared with a gesso, a oil medium. Dierent colors are made, or purchased pre-
mixture of glue and chalk. mixed, before painting begins, but further shades of color
Modern acrylic "gesso" is made of titanium dioxide with are usually obtained by mixing small quantities together
4 5 PROCESS
A traditional wood palette used to hold and mix small amounts
of paint while working.
as the painting process is underway. An artists palette,
traditionally a thin wood board held in the hand, is used
for holding and mixing paints of dierent colors. Pig-
ments may be any number of natural or synthetic sub-
stances with color, such as sulphur for yellow or cobalt
for blue. Traditional pigments were based on minerals or
plants, but many have proven unstable over long periods
of time; the appearance of many old paintings today is
very dierent from the original. Modern pigments often
use synthetic chemicals. The pigment is mixed with oil,
usually linseed, but other oils may be used. The various
oils dry dierently, which creates assorted eects.
Traditionally, artists mixed their own paints from raw pig-
ments that they often ground themselves and medium.
This made portability dicult and kept most painting ac-
tivities conned to the studio. This changed in the 1800s,
when tubes of oil paint became widely available following
the American portrait painter John Goe Rand's inven-
tion of the squeezable or collapsible metal tube in 1841
(the year of Claude Monet's birth). Artists could mix col-
ors quickly and easily, which enabled, for the rst time,
relatively convenient plein air painting (a common ap-
proach in French Impressionism).
A brush is most commonly employed by the artist to ap-
ply the paint, often over a sketched outline of their subject
(which could be in another medium). Brushes are made
from a variety of bers to create dierent eects. For out the composition. This rst layer can be adjusted be-
example, brushes made with hog bristle might be used
for bolder strokes and impasto textures. Fitch hair and
mongoose hair brushes are ne and smooth, and thus an-
swer well for portraits and detail work. Even more expen-
sive are red sable brushes (weasel hair). The nest quality
brushes are called "kolinsky sable"; these brush bers are
taken from the tail of the Siberian weasel. This hair keeps
a superne point, has smooth handling, and good memory
(it returns to its original point when lifted o the canvas),
known to artists as a brushs snap. Floppy bers with no
snap, such as squirrel hair, are generally not used by oil
painters.
In the past few decades, many synthetic brushes have been
marketed. These are very durable and can be quite good,
as well as cost ecient. Brushes come in many sizes and
are used for dierent purposes. The type of brush also
makes a dierence. For example, a round is a pointed
brush used for detail work. Flat brushes are used to ap-
ply broad swaths of color. Bright is a at brush with
shorter brush hairs. Filbert is a at brush with rounded
corners. Egbert is a very long, and rare, lbert brush.
The artist might also apply paint with a palette knife,
which is a at metal blade. A palette knife may also be
used to remove paint from the canvas when necessary.
A variety of unconventional tools, such as rags, sponges,
and cotton swabs, may be used to apply or remove paint.
Some artists even paint with their ngers.
Tubes of paint
Most oil painters paint in layers known as glazes, a
method also simply called indirect painting. This
method was rst perfected through an adaptation of the
egg tempera painting technique, and was applied by
the Flemish painters in Northern Europe with pigments
ground in linseed oil. More recently, this approach has
been called the mixed technique or mixed method.
The rst coat (the underpainting) is laid down, often
painted with egg tempera or turpentine-thinned paint.
This layer helps to tone the canvas and to cover the
white of the gesso. Many artists use this layer to sketch
fore proceeding further, an advantage over the cartoon-
ing method used in Fresco technique. After this layer
dries, the artist might then proceed by painting a mo-
 5

saic of color swatches, working from darkest to lightest.

The borders of the colors are blended together when the
mosaic is completed, and then left to dry before apply-
ing details.
Artists in later periods, such as the Impressionist era
(late 19th century), often expanded on this wet-on-wet
method, blending the wet paint on the canvas without
The Rape of Europa,
following the Renaissance-era approach of layering and
Titian, 1562
glazing. This method is also called "alla prima". This
method was created due to the advent of painting out-
doors, instead of inside a studio, because while outside,
an artist did not have the time to let each layer of paint dry
before adding a new layer. Several contemporary artists
use a combination of both techniques to add bold color
(wet-on-wet) and obtain the depth of layers through glaz-
ing.
When the image is nished and has dried for up to a year,
an artist often seals the work with a layer of varnish that
is typically made from dammar gum crystals dissolved
in turpentine. Such varnishes can be removed without The Raising of the Cross, Peter
disturbing the oil painting itself, to enable cleaning and Paul Rubens, 161011
conservation. Some contemporary artists decide not to
varnish their work, preferring the surface unvarnished.

6 Examples of famous works

The Anatomy Lesson of
Dr. Nicolaes Tulp, Rembrandt, 1632

Arnolni Portrait, Jan van Eyck,

1434 (on panel)
Innocent X, Velzquez, c
1650

La donna velata, Raphael, The Milkmaid, Johannes

1516 Vermeer, 1658-1660
6 6 EXAMPLES OF FAMOUS WORKS

The Toilet of Venus, Franois Portrait of Dr. Gachet,

Boucher, 1751 Vincent van Gogh, 1890

The Cardplayers, Paul

The Blue Boy, Thomas Gains- Czanne, 1892
borough, 1770

Battle of Somosierra, Piotr The Old Guitarist, Pablo Picasso,

Michaowski, 1837 1903

Woman with a Parasol - Les Demoiselles

Madame Monet and Her Son, Claude Monet, 1875 d'Avignon, Pablo Picasso, 1907

Le Moulin de la Galette, Composition VII, Wassily

Pierre-Auguste Renoir 1876 Kandinsky, 1913
 7

7 See also
Faux painting
History of painting
Bella with White Collar, Marc Cha-
gall, 1917 Lists of painters

Oil sketch
Old Master

Paper marbling
Reverse glass painting

8 References
The Two Fridas, Frida
Kahlo, 1939 [1] Barry, Carolyn. Earliest Oil Paintings Found in Famed
Afghan Caves. National Geographic Society. Retrieved
7 January 2013.

[2] Rediscovering treasures of Bamiyan. BBC News. 17

July 2008. Retrieved 20 May 2010.
Three Studies for Fig-
ures at the Base of a Crucixion, Francis Bacon [3] Afghan caves hold worlds rst oil paintings: expert
ABC News (Australian Broadcasting Corporation)
(artist), 1944
[4] Earliest Oil Paintings Discovered

[5] Sciencemage.org, Science Magazine 2 May 2008

[6] Haaf, Beatrix (1987). Industriell vorgrundierte

Malleinen. Beitrge zur Entwicklungs-, Handels- und
Materialgeschichte. Zeitschrift fr Kunsttechnologie und
Konservierung. 1: 771.

No. 5, 1948, Jackson Pollock, 1948 9 Further reading

Chieo, Cliord T.:Contemporary Oil Painters
Handbook, Prentice Hall, 1976.

The Artists Handbook of Materials and Techniques,

comprehensive reference book by Ralph Mayer
(1940)
Girl with a white dog,
Lucian Freud, 1951-1952

We Two Boys Together

Clinging, David Hockney, 1961
8 10 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

10 Text and image sources, contributors, and licenses

10.1 Text
Oil painting Source: https://en.wikipedia.org/wiki/Oil_painting?oldid=758240109 Contributors: Marj Tiefert, Tarquin, Ed Poor, Ver-
loren, Wayne Hardman, Heron, Formulax~enwiki, Camembert, Youandme, Olivier, Reigh, Jketola, Ixfd64, Goatasaur, Looxix~enwiki,
Ellywa, Mdebets, Theresa knott, Julesd, Scott (usurped)~enwiki, Rossami, Mxn, Tpbradbury, Nv8200pa, Robbot, Astronautics~enwiki,
Premeditated Chaos, Hadal, UtherSRG, SC, Guy Peters, Giftlite, Mintleaf~enwiki, Haeleth, MichaelHaeckel, Jorge Stol, Mboverload,
Alexf, Antandrus, OwenBlacker, Bodnotbod, WpZurp, Felix Wiemann, E. abu Filumena, Guanabot, Bobo192, Mordemur, Cohesion,
Dachannien, Denniss, Svartalf, Hohum, Gdavidp, Danntm, Prattora~enwiki, Luigizanasi, Stephen, Woohookitty, Mandarax, Graham87,
Sparkit, Melesse, Dwaipayanc, Pmj, Ketiltrout, Sjakkalle, Stardust8212, FlaBot, Intgr, Chobot, YurikBot, Al Silonov, NTBot~enwiki,
Efrarodz, Stephenb, Cryptic, Wiki alf, Badagnani, Megapixie, Lockesdonkey, PlasterGiotto, Lt-wiki-bot, Sgmanohar, JoanneB, Tyre-
nius, Attilios, SmackBot, Haymaker, Enlil Ninlil, Unyoyega, C.Fred, Eskimbot, Bragador, SmartGuy Old, Gilliam, IMacWin95, Bluebot,
Miquonranger03, MalafayaBot, DHN-bot~enwiki, Colonies Chris, Can't sleep, clown will eat me, Aarku, Josheshi, Ryan Roos, Dogears,
Ceoil, SashatoBot, Arnoutf, Attys, Accurizer, Bilby, Optakeover, Caiaa, Iridescent, Joseph Solis in Australia, Clayhead, Twas Now,
Tony Fox, Jive Dadson, MarylandArtLover, Dlohcierekim, J Milburn, JForget, CmdrObot, Makeemlighter, ShelfSkewed, Keithh, Thrift-
wood, Gogo Dodo, ST47, Optimist on the run, Dmarques1, Eubulide, Thijs!bot, Matt eickho, Crockspot, Rrose Selavy, Bbroach725,
Marek69, Moore850, Dawnseeker2000, Natalie Erin, Escarbot, KrakatoaKatie, Seaphoto, Vondelpark, Modernist, Zoler, Medora, JAnD-
bot, Altairisfar, Epeeeche, Leolaursen, Rothorpe, Freshacconci, Magioladitis, Bongwarrior, VoABot II, Mlaoxve, JNW, JamesBWat-
son, J.P.Lon, Nyttend, Cgj1981, Thibbs, Oroso, Skarioszky, MartinBot, Bus stop, R'n'B, CommonsDelinker, Abecedare, Bogey97, Us-
aartstore, Naomichanart, IdLoveOne, Johnbod, Barcelona3006, Stluke23, Christopher Kraus, Dcorc, Natl1, Joaqun Martnez Rosado,
Bonadea, Funandtrvl, Akuvodapainting, VolkovBot, Sankalpdravid, Eldaran~enwiki, JhsBot, Aloha27, FourteenDays, Sandik~enwiki,
Dirkbb, Worldartist, Monty845, Canvasguru, Artypants, SieBot, Calliopejen1, Ausjulio, WereSpielChequers, Yintan, Flyer22 Reborn,
Oda Mari, Momo san, Munpooped, Brittney11, 2white4u, CutOTies, Sheetheadd, Artoasis, AngelOfSadness, Lightmouse, Coldcre-
ation, Guatemalan1, Bodhi Peace, Capitalismojo, Mylae2, Winnips, Martarius, ClueBot, Samsubhash, Awg1010, The Thing That Should
Not Be, Jan1nad, Boy.bowen, Albiart, Niceguyedc, SchreiberBike, Theramin, Mattissa, Protoblast, SoxBot III, Egmontaz, DumZiBoT,
Nathann sc, Hudson Hawk21, The Austrian Oak, XLinkBot, Kwork2, Srsingh75, Mifter, ZooFari, Heeero60, Addbot, Jojhutton, Leszek
Jaczuk, Looie496, AndersBot, Paris 16, ZivojinMisic~enwiki, Peti610botH, Tide rolls, Zorrobot, Javanbakht, Luckas-bot, Yobot, Rubin-
bot, 1exec1, Biziw, Sonia, Xojackiecaseyox, Ulric1313, Materialscientist, Citation bot, Kalamkaar, Xqbot, Zad68, Capricorn42, Jerey
Mall, ZeldaWatchingBugs, Jmundo, GrouchoBot, Billbobandy, FrescoBot, VI, Finalius, Kwiki, TravisWichtendahl, OgreBot, Citation bot
1, Dr Smith-Johnson, Wggmn3, DrilBot, Pinethicket, Alonso de Mendoza, Atelierartisanal, Dude1818, December21st2012Freak, Son-
nyw9, Lotje, Fesh0r, Windatheels, Juybari, RjwilmsiBot, Galloping Moses, Oil painting art, Findwhat, EmausBot, Dcirovic, ZroBot,
Fliss1697, Michasgallery, AndrewOne, Lidingo11, Jedrzej1224, Psychedelia2010, Mentibot, ClueBot NG, Satellizer, Meetha Pai, Al-
imNaz, Widr, Hileman8, Yannisart, Seair21, Jjoy3646, Wbm1058, BG19bot, Vagobot, MusikAnimal, 3ebBtefan, Jeauger, Timbucky,
David.moreno72, Xincaiart, Hillbillyholiday, Adriannarr12, YiFeiBot, Zacharyjoseph, BethNaught, Bodhisattwa, NNemetz, Phillip barge,
Polaro, AndersGrexit, Wikipedia is made by people like you.Wikipedia is made by people like you., Omni Flames, Fmadd, Jmcgnh,
Turkeybutt JC, Arian Writing and Anonymous: 317

10.2 Images
File:Battle_of_Somosierra_by_Piotr_Michaowski.PNG Source: https://upload.wikimedia.org/wikipedia/commons/b/b0/Battle_of_
Somosierra_by_Piotr_Micha%C5%82owski.PNG License: Public domain Contributors: http://www.kaczmarski.art.pl/tworczosc/obrazy/
somosierra1_orginal.jpg Original artist: Piotr Michaowski
File:Chagall_Bella.jpg Source: https://upload.wikimedia.org/wikipedia/en/b/bd/Chagall_Bella.jpg License: PD-US Contributors: ? Orig-
inal artist: ?
File:Claude_Monet_-_Woman_with_a_Parasol_-_Madame_Monet_and_Her_Son_-_Google_Art_Project.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/1/1b/Claude_Monet_-_Woman_with_a_Parasol_-_Madame_Monet_and_Her_
Son_-_Google_Art_Project.jpg License: Public domain Contributors: EwHxeymQQnprMg at Google Cultural Institute maximum zoom
level Original artist: Claude Monet
File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Origi-
nal artist: ?
File:Flax_seeds.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/15/Flax_seeds.jpg License: CC BY-SA 2.5 Contribu-
tors: ? Original artist: ?
File:Freud,_girl-white-dog.jpg Source: https://upload.wikimedia.org/wikipedia/en/5/5f/Freud%2C_girl-white-dog.jpg License: Fair
use Contributors: ? Original artist: ?
File:Hockney,_We_Two_Boys_Together_Clinging.jpg Source: https://upload.wikimedia.org/wikipedia/en/5/5b/Hockney%2C_We_
Two_Boys_Together_Clinging.jpg License: Fair use Contributors: ? Original artist: ?
File:Innocent-x-velazquez.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/2e/Innocent-x-velazquez.jpg License: Pub-
lic domain Contributors: http://www.doriapamphilj.it/ukinnocenzox.asp Original artist: Unknown
File:Johannes_Vermeer_-_Het_melkmeisje_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
2/20/Johannes_Vermeer_-_Het_melkmeisje_-_Google_Art_Project.jpg License: Public domain Contributors: 9AHrwZ3Av6Zhjg at
Google Cultural Institute, zoom level maximum Original artist: Johannes Vermeer
File:La_donna_velata_v2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a6/La_donna_velata_v2.jpg License: Public
domain Contributors: http://www.deutsche-liebeslyrik.de/manuskript/man4_seite10.htm. There are two hi-res images of this painting on
the internet, and though the previously uploaded image is to some degree more pleasing to the eye, this image I've uploaded is more accurate.
It was originally obtained from Visipix when it was a free service. Original artist: User R6 on en.wikipedia
File:Les_Demoiselles_d'Avignon.jpg Source: https://upload.wikimedia.org/wikipedia/en/4/4c/Les_Demoiselles_d%27Avignon.jpg Li-
cense: PD-US Contributors:
10.2 Images 9

Museum of Modern Art, New York

Original artist:
Pablo Picasso
File:Mona_Lisa,_by_Leonardo_da_Vinci,_from_C2RMF_retouched.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg License: Public domain Contributors:
Cropped and relevelled from File:Mona Lisa, by Leonardo da Vinci, from C2RMF.jpg. Originally C2RMF: Galerie de tableaux en trs
haute dnition: image page Original artist: C2RMF: Galerie de tableaux en trs haute dnition: image page
File:No._5,_1948.jpg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/No._5%2C_1948.jpg License: Fair use Contributors:
Taken from Art Market Watch.com. Original artist: ?
File:Oil_painting_palette.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/04/Oil_painting_palette.jpg License: Public
domain Contributors: http://en.wikipedia.org/wiki/Image:Oil_painting_palette.jpg Original artist: Mlaoxve
File:Old_guitarist_chicago.jpg Source: https://upload.wikimedia.org/wikipedia/en/b/bc/Old_guitarist_chicago.jpg License: PD-US
Contributors:
The Art Institute of Chicago and jacquelinemhadel.com Original artist:
Pablo Picasso
File:Paul_Czanne,_1892-95,_Les_joueurs_de_carte_(The_Card_Players),_60_x_73_cm,_oil_on_canvas,_Courtauld_
Institute_of_Art,_London.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d4/Paul_C%C3%A9zanne%2C_
1892-95%2C_Les_joueurs_de_carte_%28The_Card_Players%29%2C_60_x_73_cm%2C_oil_on_canvas%2C_Courtauld_Institute_
of_Art%2C_London.jpg License: Public domain Contributors: Courtauld Institute of Art Original artist: Paul Czanne
File:Peter_Paul_Rubens_-_De_kruisoprichting.JPG Source: https://upload.wikimedia.org/wikipedia/commons/5/52/Peter_Paul_
Rubens_-_De_kruisoprichting.JPG License: Public domain Contributors: Ophelia2 Original artist: Peter Paul Rubens
File:Pierre-Auguste_Renoir,_Le_Moulin_de_la_Galette.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/
Pierre-Auguste_Renoir%2C_Le_Moulin_de_la_Galette.jpg License: Public domain Contributors: http://allart.biz/photos/image/Pierre_
Auguste_Renoir_2_Bal_du_moulin_de_la_Galette_Smaller_version.html (derivative work of musee-orsay.fr image?)
Original artist: Pierre-Auguste Renoir
File:Portrait_of_Dr._Gachet.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/1e/Portrait_of_Dr._Gachet.jpg License:
Public domain Contributors: Unknown Original artist: Vincent van Gogh
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Contributors:
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Tkgd2007
File:Rembrandt_Harmensz._van_Rijn_-_Selfportrait_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/4/45/Rembrandt_Harmensz._van_Rijn_-_Selfportrait_-_Google_Art_Project.jpg License: Public domain Contributors:
WAGlk3EYZbNjQQ at Google Cultural Institute, zoom level maximum Original artist: Rembrandt
File:Rembrandt_Harmensz._van_Rijn_007.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/53/Rembrandt_
Harmensz._van_Rijn_007.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM,
2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Rembrandt
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File:The_Toilet_of_Venus,_by_Franois_Boucher.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c5/The_Toilet_
of_Venus%2C_by_Fran%C3%A7ois_Boucher.jpg License: Public domain Contributors: Metropolitan Museum of Art, online collection
(accession number 20.155.9) Original artist: Franois Boucher
File:The_Two_Fridas.jpg Source: https://upload.wikimedia.org/wikipedia/en/f/f9/The_Two_Fridas.jpg License: Fair use Contributors:
The Artchive Original artist: Frida Khalo
File:Thomas_Gainsborough_-_The_Blue_Boy_(The_Huntington_Library,_San_Marino_L._A.).jpg Source: https:
//upload.wikimedia.org/wikipedia/commons/7/7e/Thomas_Gainsborough_-_The_Blue_Boy_%28The_Huntington_Library%2C_
San_Marino_L._A.%29.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM,
2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Thomas Gainsborough
File:Three_Studies_for_Figures_at_the_Base_of_a_Crucifixion.jpg Source: https://upload.wikimedia.org/wikipedia/en/1/11/
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File:Tizian_085.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/41/Tizian_085.jpg License: Public domain Contribu-
tors: http://www.gardnermuseum.org/collection/artwork/3rd_floor/titian_room/europa?filter=artist:3150 Original artist: Titian
File:Tubes_of_paint,_artist{}s_paint_PNG.png Source: https://upload.wikimedia.org/wikipedia/commons/b/b2/Tubes_of_paint%
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File:Van_Eyck_-_Arnolfini_Portrait.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/33/Van_Eyck_-_Arnolfini_
Portrait.jpg License: Public domain Contributors: Web site of National Gallery, London Original artist: Jan van Eyck (circa 13901441)
File:Vassily_Kandinsky,_1913_-_Composition_7.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Vassily_
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File:Wikibooks-logo-en-noslogan.svg Source: https://upload.wikimedia.org/wikipedia/commons/d/df/Wikibooks-logo-en-noslogan.
svg License: CC BY-SA 3.0 Contributors: Own work Original artist: User:Bastique, User:Ramac et al.
10 10 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

10.3 Content license

Creative Commons Attribution-Share Alike 3.0