Activity #10-Mediums and Techniques

The Corinthian Maid, 1782-1784, by Joseph Wright, oil on canvas. Oil paints consist of pigment compounded with oil, usually linseed oil. (172) In the Corinthian Maid, Wright uses the oil to act as a binder, creating as it dries a transparent film in which the pigment is suspended. Another great advantage of oil is that it can be worked in an almost infinite range of consistencies, from very thick to very thin, Wright chose thin. Also, the colors are blended subtly, in which layers of paint could be applied on top of other layers with little danger of separating or cracking, (173) which is shown in this painting. Joseph Wright, for example, did this painting in glazes, thin translucent veils of color applied over a thicker layer of under painting. (175) This painting also shows the smooth, flawless finish and glowing color that glazes can produce on canvas. By using canvas Wright is able to stretch it out over a wooden frame, sizing it with glue to seal the fibers and protect it from the corrosive action of the oil paint, and then coat it with a white, oil-base ground preserving its image, which is the most important thing and has the visual impact that makes you focus on the two people.


The Houses of Parliament, Sunset, 1903, by Claude Monet, oil on canvas. For about five hundred years the word “painting” was virtually synonymous with “oil painting”. (173) Oil paint is a sensuous medium, it has a distinctive feel and a distinctive smell and working with it can be a pleasure as shown by this magnificent piece. (176) The composition in this painting was worked out well in advance down to the very last detail, and built up methodically, layer after layer. (175) He used a classic procedure to complete the entire painting called grisaille. Also colored glazes are floated over the entire image, and the light and dark colors show through the painting as modeling. Monet’s bold, slashing brush strokes are an important part of this painting. In places the paint is layered quite thickly, a technique called impasto. (175) The thick, loaded brushwork that oil paint made possible adds a new expressive element to this painting. The reflection in the water, and the colors of the sky may come to mind, but this painting does not limit us to any one of them. Our eyes are glued to the energetic brushwork in the background that portrays anything but itself.

In conclusion, both pieces are oil on canvas and have a very distinctive look with one having focus on the smooth glaze look and the other with the thick brushstrokes.