Elena Rossi
The base for paints in the Middle Ages and Renaissance periods varied depending on the surface being painted and the desired effect. In the Middle Ages, painters used egg tempera, a mixture of pigment with water and egg, on surfaces like metal, wood, raw hide, and canvas. Casein paint, made from milk products, was also used on rougher surfaces like stone and wood. During the Renaissance, oil painting became a popular technique, with artists like Jan van Eyck using oils to create subtle effects and build up layers. Tempera and fresco techniques were also used during the Renaissance, with fresco reserved for ceilings and tempera for small religious panels. The colours available to artists in both periods included reds, yellows, greens, blues, and browns, derived from natural pigments like azurite, malachite, and ochre.
| Characteristics | Values |
|---|---|
| Base | Egg, wax, mastic, resins, oil |
| Pigments | Ochre, charcoal, blood, sap, berry juice, rust, iron hydroxides, madder, saffron, turmeric, pomegranate rind, indigo, vermilion, ultramarine, azurite, lead-tin yellow, orpiment, lead white, gypsum, lime white, carbon black, bone black, verdigris, green earth, malachite, umber |
| Binders | Glue, honey, water, milk, urine, human earwax |
| Painting materials | Natural chalks, walnut or linseed oil |
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What You'll Learn
- Renaissance paints were made with plant oils, creating depth and colour
- Medieval paints used egg tempera, a mix of egg yolk, water and pigment
- Apprentices prepared the paint, mixing pigments with egg, wax, resins and oil
- Natural mineral pigments were dug from the earth and used by Renaissance masters
- Maritime trading delivered pigments to a demanding market of Church and Kings
Renaissance paints were made with plant oils, creating depth and colour
The Renaissance period, from the 14th to the 16th century, witnessed a significant shift in painting techniques, with the adoption of plant oils as a base for paints. This innovation marked a departure from the medieval preference for bright and pure colours created using egg tempera, a mixture of pigment, water, and egg.
During the Renaissance, artists transitioned from egg tempera to using plant oils, such as walnut or linseed oil, as the base for their pigments. This change in medium had a profound impact on the depth and colour of their paintings. The slow-drying nature of these oils allowed for greater versatility and enabled artists to create new luminous effects, enhancing the power of their colour palettes.
The use of plant oils facilitated the creation of layers, with painters following the rule of "fat over lean". This involved starting with a lean mixture of oil paint and solvent and gradually increasing the fat consistency by adding varnish and oil as they built up the layers. This technique, mastered by artists like Jan van Eyck, allowed for a more nuanced depiction of tonal variations and textures, revolutionising the way painters observed nature.
The Renaissance palette built upon the colours of the Medieval Age while introducing new pigments. While reds like vermilion and madder lake, and blues like azurite, ultramarine, and indigo were used in both periods, the Renaissance palette also featured unique colours like Naples yellow, smalt, and carmine lake. The pursuit of realism in Renaissance art drove the exploration of new pigments, enhancing the depth and colour of their paintings.
The use of plant oils in Renaissance paints was a pivotal development that transformed artistic expression. It empowered artists to create works of astonishing colour and depth, capturing the intricacies of nature and human emotion. This evolution in paint-making techniques during the Renaissance bridged the gap between the Middle Ages and the Age of Enlightenment, reflecting the scientific and theoretical advancements of the time.
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Medieval paints used egg tempera, a mix of egg yolk, water and pigment
In the Middle Ages, a common method of painting involved using egg tempera, a mix of egg yolk, water, and pigment. This paint was made by hand-mixing dry powdered pigments into egg yolk and water, creating a permanent, fast-drying, and long-lasting paint known for its luminosity and jewel-like appearance. To create certain colours, painters would use natural dyes such as saffron and turmeric, or natural pigments like yellow ochre. For red, they would use crimson, rust, or natural red earth. Green was made from the mineral malachite, blue from azurite, and white from chalk.
The use of egg tempera required a technique called glazing, where transparent layers were added on top of the painting to prevent cracking. This created a highly finished appearance. During the Renaissance, egg was replaced by walnut or linseed oil as the base for pigments used on canvas. This allowed for the creation of new luminous effects and a richer depth of colour.
The Renaissance period, from the 14th to the 16th centuries, saw a great theoretical and scientific revolution in Europe. Oil paint, which had been documented in the 11th century, became widely used by Northern Renaissance painters in the 15th century, including Jan van Eyck. This new medium enabled painters to achieve new effects of colour and realism, and the use of oils and canvas supports allowed for a broader range of subject matter.
Before the Renaissance, during the time of the Greeks and Romans, beeswax-based encaustic painting techniques were used for pictures and murals. Dyes made from plants were also used in artwork in the Mediterranean region. Madder made red dyes, saffron, turmeric, and pomegranate rind made yellow, and indigo made dark blue.
The colours available to artists during the Renaissance mirrored those of the Medieval Age, with a few exceptions: Naples yellow, smalt, and carmine lake (cochineal). Other reds included vermilion and madder lake, which were brought to Europe by crusaders in the 12th century. The blues available during this time included azurite, ultramarine, and indigo, while greens were made from verdigris, green earth, and malachite.
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Apprentices prepared the paint, mixing pigments with egg, wax, resins and oil
During the Renaissance, apprentices were responsible for preparing paints by mixing pigments with egg, wax, resins, and ultimately, oil. This process involved washing, cooking, grinding, grading, weighing, and storing raw pigments. While the Renaissance witnessed a shift towards oil-based paints, egg tempera, a mixture of pigment, water, and egg, was a common method of painting in the Middle Ages.
The Renaissance, spanning the 14th to 16th centuries, marked a transition from the Middle Ages to the Age of Enlightenment. This period was characterized by significant advancements in science and theory, maritime trade, and the emergence of wealthy patrons such as the Church and kings. The development of oil painting was one of the most notable innovations in Renaissance art. Northern Renaissance painters, including Jan van Eyck, played a pivotal role in popularizing this medium, which offered greater versatility and enabled artists to achieve new levels of color and realism.
Egg tempera, a traditional medieval painting technique, involved mixing dry powdered pigments with egg yolk and water. This method resulted in a permanent, fast-drying, and long-lasting paint known for its luminosity and fine details. If egg yolk was unavailable, alternative binders such as glue, honey, water, milk, urine, or human earwax were used. The colors were derived from natural sources, with red obtained from natural red earth, crimson, or rust; yellow from dyes like turmeric and saffron or pigments like yellow ochre; green from ground malachite; blue from azurite; and white from chalk.
The shift from egg tempera to oil-based paints during the Renaissance brought about a significant change in the artistic landscape. Walnut or linseed oil replaced egg as the base for pigments, allowing for slower drying times and broader subject matter. The use of oils and canvas supports enabled artists to explore a wider range of situations and themes in their artwork. The natural luminosity and plasticity of oil colors empowered Renaissance artists to achieve new effects of color and realism, enhancing the power of their color palettes.
The preparation of paints by apprentices during the Renaissance involved a meticulous process of handling raw pigments and mixing them with various mediums, from egg to the eventual adoption of oil. This transformation in paint-making techniques played a pivotal role in shaping the artistic achievements of the Renaissance and laid the foundation for future innovations in the world of art.
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Natural mineral pigments were dug from the earth and used by Renaissance masters
The Renaissance witnessed a shift away from the bright, pure, and emblematic colours preferred during the Middle Ages. Carmine lake (cochineal), smalt, and Naples yellow were three pigments that distinguished the Renaissance palette from its medieval counterpart. Carmine lake, for instance, was used by the Venetian painter Tintoretto to achieve dramatic colour effects in his work, "Miracle of the Slave." Other reds used during the Renaissance included vermilion and madder lake, which were brought to Europe by crusaders in the 12th century.
The Renaissance colour palette also featured realgar, azurite, ultramarine, and indigo among the blues, and verdigris, green earth, and malachite among the greens. Orpiment and lead-tin yellow were additional yellows, while browns were obtained from umber. Whites were lead white, gypsum, and lime white, and blacks were carbon black and bone black.
The use of walnut or linseed oil as a base for pigments on canvas, instead of egg, also contributed to the richness and depth of colour achievable during the Renaissance. This new medium allowed painters to create new luminous effects and enhanced the power of their colour palettes. The natural luminosity and plasticity of oil colours enabled Renaissance artists to achieve new effects of colour and realism, marking a significant advancement in art.
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Maritime trading delivered pigments to a demanding market of Church and Kings
During the Renaissance, the palette of colours used remained largely the same as in the Medieval Age, with only a few exceptions: Naples yellow, smalt, and carmine lake (cochineal). Other reds, such as vermilion and madder lake, were introduced to Europe by crusaders in the 12th century. The Renaissance palette also featured realgar, azurite, ultramarine, indigo, verdigris, green earth, malachite, orpiment, lead-tin yellow, and various browns, whites, and blacks.
Increased maritime trading played a significant role in the availability and trade of pigments, catering to the demanding market of the Church and royalty. Venice, for example, was a significant hub for trade due to its geographic position as the terminal for overland silk routes and its prosperous maritime trading. The rise of maritime nations such as the Netherlands contributed to the decline of Venice's importance, as the Northern Renaissance grew alongside the fortunes of maritime trade and the merchant classes.
The Renaissance also witnessed a shift in artistic preferences, moving away from the bright, pure, and emblematic colours of the Medieval period. Artists began mixing colours, allowing for more subtlety and naturalistic effects. This change was facilitated by the use of oil as a medium, which provided a longer drying time compared to other mediums like egg, walnut, or linseed oil. Oil allowed artists to mix colours directly on the canvas, paint over larger areas, and work for extended periods.
The development and use of oil paint during the Renaissance represented a significant advancement in artistic techniques. Northern Renaissance painters, such as Jan van Eyck, played a pivotal role in popularising oil paint across Europe. Van Eyck created his paintings using a strict process that involved mixing oil, solvent, and varnish in specific proportions, following the rule of "fat over lean." This technique allowed for the creation of layers, with the mixture changing to a higher fat consistency by adding varnish and oil as the painting progressed.
The increased availability of pigments through maritime trade fuelled the demands of patrons, including the Church and royalty. Artists during this period were treated like craftsmen, and most commissions came from the Church, resulting in a significant portion of artistic work being created for religious purposes. The Italian Renaissance, led from Florence, witnessed a revolution in art, architecture, science, and literature, with a strong focus on the discovery of perspective and realism in painting.
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Frequently asked questions
In the Medieval period, painters would use sticks of natural red chalk, green earth, malachite, verdigris, orpiment, yellow ochre, umber, lime white, and ultramarine. These pigments would be mixed with water, egg, and milk to create paint. Casein paint was also used on rough surfaces like stone and wood.
During the Renaissance, oil painting became popular. Paint was made from oil, solvent, and varnish, and was applied to wood panels, canvas, paper, fabric, or walls. Renaissance painters also used gold, silver, and tin leaf in their paintings.
Renaissance painters used Naples yellow, smalt, carmine lake, vermilion, madder lake, realgar, azurite, ultramarine, indigo, verdigris, green earth, malachite, orpiment, lead-tin yellow, umber, lead white, gypsum, lime white, carbon black, and bone black.
