What Painting Is: How to Think about Oil Painting ... - Victoria Vesna

WHAT PAINTING IS 167
just above the dark imprimatura, are extremely thin. The section
is magnified five hundred times, so all the layers put together are
still thinner than most modern paintings. The thinnest layers here
are almost entirely transparent, and even the thickest ones are
translucent. Each one slightly modifies the overall color, like the
effect of looking through mylar sheets. There are limits to what
thin sections like this can tell conservators: they can’t say
anything about the paint structure an inch to either side, and they
can’t report reliably on the total number of glazes. Cima might
have finished this portion of his painting with the thin surface
glazes for which Titian is famous—but they might have been so
thin, and so irregularly distributed over the surface, that they do
not show up in this section at all.
You might think that with something as well-known as oil
painting, the techniques would all be written down, so that
anyone could study them and try to paint like Titian or
Rembrandt. But oil painting methods have always been semisecret,
like alchemical recipes. Painters have gone to their
deathbeds without telling their secrets, and when certain ways of
painting went out of fashion, the methods tended to be forgotten
along with them. The result is that painting techniques have been
lost on at least three different occasions since the middle ages.
The first loss was in the fifteenth century, when Jan Van Eyck’s
method—the envy of many painters, and the first successful oil
technique—was not passed on to enough people, and was
eventually entirely forgotten. Then there was the loss of the
famous Venetian technique practiced by Titian, Giorgione,
Veronese, and Cima: it died slowly over several generations as
painters used methods that were less and less like the original
techniques. Eventually, when painters in the nineteenth century
wanted to paint in the Venetian manner, they found that there
was no one left to teach them and no books to consult. The third
loss was the academic method developed mostly in the French
Academy up to the time of the French Revolution. It was an
elaborate, exacting technique, which had grown out of the late
Renaissance—but after the Revolution, when painters decided
that the academies might not have been all that bad, it was too
late. In the twentieth century what goes under the name of oil
painting would not have been recognizable to painters from the
Renaissance and Baroque. It is about as much like their painting
as the civilization in the Mad Max movies is to ours. 5