Materials for a History of Oil Painting, Band 1

altar-piece amber varnish Antonello Antonello da Messina Antonio Pollaiuolo appear applied artist Bartolommeo beauty blue drapery bright brown chiaroscuro colour colourists contrast cool tints Correggio cracks darker darks degree depth difference effect essential oil example executed exhibit expression figure finished Flemish flesh tints Florence Florentine forms Fra Bartolommeo Frate fresco Gallery glazing gradations green grey half-tints imitation Italian labour Leonardo da Vinci less light and shade light ground linseed oil Lorenzo di Credi Madonna master method mode nature neutral objects observed oil painters oil painting oil pictures oil varnish opaque Perugia Perugino Portinari portions practice preparation principle produced prominent Raphael remarkable Rembrandt resin rich Rubens sandarac scumbling seen shadows solid sometimes style substance sufficiently supposed surface tempera thick thin thinly tion Titian toned touch transparent Vasari vehicle Venetian Venetian school vernice liquida warm warmth white varnish yellow