Painting

Painting on Panels

Painting on panels is a very old technique. But because of climate conditions, very few examples of early paintings exist. The earliest remaining examples are from the extreme desert climate of Egypt and are estimated to have been painted before the birth of Christ.

Documentation of panel preparation includes one method that was used for hundreds of years.  It employed a construction and preparation that was very laborious and began with a carpenter who would construct a solid wood piece the size of the required panel.  The type of wood varied with the location.  In Italy where the documentation originated, the choice was seasoned poplar or willow.  The plank would be planed and sanded and joined to other planks if a larger size was needed.  The wood would be coated with a mixture of animal skin glues and resin and then covered with linen.  Once the surface had dried, layers of ground marble dust and water would be added.   Each layer would be sanded to achieve the final smoothness needed for finite detail.

When the panel was ready, the design would be planned and drawn out, usually with charcoal so that corrections could be made before painting began.  Encaustic painting was the method of pigment application (pigments mixed with heated wax).  These surfaces held up well to the humidity and dampness of the buildings where the paintings were hung. 

By the early 1000’s, encaustic panel painting was replaced by egg yolk tempera.  Small brushes and very small strokes yielded detail unlike that possible with encaustic.  Hundreds of panels created with this method, although it seems delicate, have survived well.  The egg yolk acted as not only a binder but also as glue to hold the paint to the panel surface. 

In the beginning of the 15^th century, oil painting was developed and became the medium of the day.  Those paintings were created with meticulous layer over layer methods to create a luminosity that was spectacular.

Wood panels that were stored in improper humidity were at risk of paint/surface separation.  Conversely, those hung in extremely dry areas tended to warp and crack, causing irreparable damage to the art.  Because of these facts, many of the earlier panel paintings have been painstakingly transferred to canvas for preservation.

Forgeries of old panel paintings are prevalent in the history of art reclamation.  When wood panels are scrutinized through carbon dating, the actual age can be determined to within 20 years.  The type of wood used is another way to determine age and origin of panel works.  Pine was popular in Poland and the Netherlands and Dalmatian wood was used in Italy (along with the willow and poplar mentioned above). 

How fortunate we are to have modern panels to use, without the labor of recreating the type of panels of old.  One company that has been creating premier quality artists’ panels for nearly 13 years with a wide selection of surfaces and material compositions is Ampersand Art Supply.  They manufacture specialty surfaced boards and art panels and accessories for the fine artist.  Their panels are created with long-lasting wood substrate and primed with the finest grounds available.   Ampersand offers panels and boards in a wide range of sizes and can create custom sizes, too.  Whether you like working on smooth, masterfully coated Masonite boards or cradled panels with varying depths, you will be pleased with Ampersand products. 

Explore the possibilities by visiting www.ampersandart.com to see the wide range of premium art panels (Claybord, Gessobord, Hardbord, Aquabord, Pastelbord, and Scratchbord), accessories, kits and instructional items available; and be sure to visit the Gallery and artists’ websites included to see how well-recognized artists are employing Ampersand products in inventive and exciting ways.  Also see “The Artist’s Marketplace” below for new products from Ampersand.

Copyright ARTtalk Vol. 17 No. 11 — September 2007