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| The Painter in Oil, by Daniel Burleigh Parkhurst |
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A Word from the Chairman of the Art Renewal Center The Painter in Oil has become one of the most sought after books on technique and the science of painting. Around the western world, as artists desperately try to reconstruct the knowledge of how to paint great traditional works, this book has been a beacon of light through the stormy seas of a 20th century art world that dismissed all training, craftsmanship and human subject matter. A student of William Bouguereau, Daniel Burleigh Parkhurst was in the unique place at the right time to capture for posterity the methods of this greatest master of the human form in all of art history. We are very proud here at the Art Renewal Center to offer this rare treatise free of charge to the world through the technology of the internet. - Fred Ross, Chairman, Art Renewal Center | |
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 Stretchers.  Double-pointed Tack.  Canvas Pliers. |
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CHAPTER III: EASELS The important thing in an easel is that it should be steady and firm; that it should hold the canvas without trembling; and so that it will not fall as you paint out towards the edges. You often paint with a heavy hand, and you must not have to hold on to your picture with one hand and paint with the other. Nothing is more annoying than a poor easel, and nothing will give you more solid satisfaction, than the result of a little generosity in paying for a good one. The ideal thing for the studio is, of course, the great "screw easel," which is heavy, safe, convenient, and expensive. We would like to have one, but we can't afford it, so we won't speak of it. The next best thing is an ordinary easel which doesn't cost a great deal, but which is firm and solid and practical. Don't get one of various three-legged folding easels which cost about seventy-five cents or a dollar. They tumble down too often and too easily. The wear and tear on the temper they cause is more than they are worth. It is true that they fold up out of the way. But they fold up when you don't expect them to; and you ought to be able to afford room enough for an easel anyway, if you paint at all. |
 Easel.  Easel.  Sketching Easel.  Sketching Easel. |
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CHAPTER IV: BRUSHES An old brush that has been properly cared for is generally better than a new one. It seems to have accommodated itself to your way of painting, and falls in with your peculiarities. It is astonishing how attached you get to your favorite brushes, and how loath you are to finally give them up. What if you have no others to take their places? Don't look upon your brushes as something as few of as possible and which you would not get at all if you could help it. There is nothing which comes nearer to yourself than the brush which carries out your idea in paint. You should be always on the lookout for a good brush; and whenever you run across one, buy it, no matter how many you have already. Don't look twice at a bad brush, and don't begrudge an extra ten cents in buying a good one. If you are sorry to have to pay so much for your brushes, then take the more care of them. Use them well and they will last a long while; then don't always use the same handful. Break in new ones now and again. Keep a dozen or two in use, and lay some aside before they are worn out, and use newer ones. So when at last you cannot use one any more, you have others of the same kind, which will fill its place. Have all kinds and sizes of brushes. Have a couple of dozen in use, and a couple of dozen, which you are not using, and a couple of dozen more that have never been used. What! Six dozen? Well. Why not? Every time you paint you look over your brushes and pick out those which look friendly to what you are going to do. You want all sorts of brushes. You can't paint all sorts of pictures with the same kind of brush. Your brush represents your hand. You must give every kind of touch to it. You want to change sometimes, and you want a clean brush from time to time. You don't want to feel that you are limited; that whether you want to or not these four brushes you must use because they are all you have! You can't paint that way. That six-dozen you will not buy all at once. When you get your first outfit, get at least a dozen brushes. As you look over the stock and pick out two or three of this kind, and two or three of that, you will be astonished to see how many you have - yet you don't know which to discard. Don't discard any. Buy them all, then, if you don't paint, it will not be the fault of your brushes. And from time to time get a half dozen of which have just struck you as especially good ones, and quite unconsciously you acquire your six dozen - and even more, I hope! Bristle and Sable- - The brushes suitable for oil painting are two kinds, - bristle and sable hair. Of the latter, red sable are the only ones you should get. They are expensive, but they have a spring and firmness that the black sable does not have. Camel's hair is out of the question. Don't get any, if you can only have camel's hair. It is soft and flabby when used in oil and you can't work well with such brushes. The same is true of the black sable. But though the red sables are expensive, you do not need many of them, nor large ones, so the cost of those you will need is slight. The only sables which are in any degree indispensable are the smaller sizes of riggers. These are thin, long brushes which are useful for outlining, and all sorts of fine, sharp touches. You use them to go over a drawing with paint in laying in a picture, and for branches, twigs, etc. As their name implies, you must have them for the rigging of vessels in marine painting also. The three sizes shown in the cut on the opposite page are those you should have, and if you get two of each, you will find them useful in all sorts of places. When you buy them, see that they are elastic and firm that they come naturally and easily to a good point, without any scraggy hairs. Test them by moistening them, and then pressing the point on the thumb-nail. They should bend evenly through the whole length of hair. Reject any, which seem "weak in the back." If it lays flat toward the point and bends all in one place near the ferrule, it is a poor brush. These three larger and thicker sizes come in very useful often and it would be well if you were to have these too. Sometimes a thick, long sable brush will serve better than another for heavy lines, etc. All these brushes are round. One largish flat sable like this it would be well to have; but these are all the sables necessary. Bristle Brushes. - The sable brush or pencil is often necessary; but oil painting is practically always done with the bristle, or "hog hair," brush. These are the ones which will make up the variety of kinds in your six dozen. A good bristle brush is not to be bought merely by taking the first, which comes to hand. Good brushes have very definite qualities, and you have no trouble in picking them out. Nevertheless, you will take the trouble to select them, if you care to have any satisfaction in using them. The Bristle. - You want your brush to be made of the hair just as it grew on the hog. All hair, in its natural state, has what is called the "flag." That is the fine, smooth taper towards the natural end of it, and generally the division into two parts. This gives the bristle, no matter how thick it may be, a silky fineness towards the end; and when this part only of the bristle is used in the brush, you will have all the firmness and elasticity of the bristle, and also a delicacy and smoothness and softness quite equal to a sable. But this, in the short hair of an artist's brush, wastes all the rest of the length of the hair; for it is only by cutting off the "flag," and using that, which is only an inch or so long, that you can make the brush. Yet the bristle may be several inches long, and all this is sacrificed for that little inch of "flag." Naturally the "flag" is expensive, and naturally also the manufacturer uses the rest of the hair for inferior brushes. These latter you should avoid. These inferior brushes are made from the part of the bristle remaining, by the sandpapering, or otherwise making the ends fine again after they are cut off. But it is impossible to make a brush which has the right quality in this way. Selection. - Never buy a brush without testing its evenness, as has been advised in the care of sables. Feel carefully the end of the bristles also, and see that the "flag" is there. All brushes are kept together for packing by paste in the bristles. See that this is soaked off before you test your brush. Round or Flat. - It will make little difference whether you use round or flat brushes, the flat brush is most commonly preferred now, and most brushes are made that way. So you had better get that kind, unless you have some special reason for preferring the round ones. Handles. - Whether the handles are nicely polished, also, is of no importance. What you are to look to is quality of the bristles and of the making; the best brushes are likely to be nicely finished all over. But if you do find a really good brush which is cheaper because of the plain handle, and you wish to save money, do it by buying the plain-handled one. Sizes and Shapes. - You will need some quite large brushes and some smaller ones, some square ones and some pointed. Here are three round brushes which, for all sorts of painting, will be of very general utility. For most of your brushes select the long and thin, rather than the short and thick ones. The stubby brush is a useless the sort of thing for most work. There are men who use them and like them, but most painters prefer the more flexible and springy brush, if it is not weak. So, too, the brush should not be too thick. A thick brush takes up too much paint into itself, and does not change its tint so readily. For rubbing over large surfaces where a good deal of the same color is thickly spread on the canvas, the thick, strong brush is a very proper tool. But where there is to be any delicacy of tone, it is too clumsy; you want a more delicate instrument. The same proportions hold with large and small brushes, so these remarks apply to all. Flat brushes. - This is particularly applicable to the flat brushes, and the more that most of your brushes will be flat. You should have both broad-ended and pointed brushes among your flat ones. For broad surfaces, such as backgrounds and skies, the broad ends come in well; and for the small ones there are many square touches where they are useful. The most practical sizes are those shown on page 28. But you will often need much larger brushes to the largest of these. For the smaller brushes you will have to be very careful in your selections. For only the silkiest of bristle will do good work in a very small brush, and then the temptation is to use a sable, which should be resisted. Why you should avoid using the sable as a rule is that it will make the painting too "slick" and edgy. There is a looseness that is the quality to prize. All the hardness, flatness and rigidity that are desirable you can get with the bristle brush. When you work too much with sables, the overworking brings a waxy woodeny surface, which is against all the qualities of atmosphere and luminosity, and of freshness and freedom of touch. Some of the most useful sizes of the more pointed brushes are shown on opposite page. There are, of course, sizes between these, and many larger; but these are what you will find the best. It would be better to have more of these sizes than to have more sizes. You should try to work with fewer rather than more sizes, and as a rule, work more with the larger than with the smaller brush, even for fine work. You will work with more force and tend less to pettiness, if you learn to put in small touches with the largest brush that will do it. Breadth is not painting with a large brush; but the man who works always with small brush instinctively looks for the things small brushes are adapted to, and will drift into a little way of working. The fan brush, such as here illustrated, is a useful brush, not to paint with, but to flick or drag across an outline or other part of a painting when it is getting too hard and liney. You may not want it once a month, but it is very useful when you do want it. Care of Brushes. - The best of economy in brushes lies in your care of them. You should never let the paint dry on them nor go too long without careful washing. It is not necessary to wash them every day with soap and water, but they would be the better for such treatment. Quite often, once a week, say, you should wash your brushes carefully with soap. You may use warm water, but don't have it hot, as that may melt the glue which holds the bristles together in the ferrule. Use strong soap with plenty of lye in it - common bar soap, or better, the old-fashioned soft soap. Hold several brushes together in one hand so that the tips are all of a length, dip them together into or rub them onto the soap, and rub them briskly in the palm of the other hand. When the paint is well worked into the lather, do the same with the other brushes, letting the first ones soak in the soap, but not in the water. Then rinse them, and careful work them clean one by one, with the fingers. When you lay them aside to dry, see that the bristles are all straight and smooth, and they will be in perfect condition for next painting. Cleaning. - But from day to day you need not take quite so much trouble as this. True, the brushes will keep in better condition if washed in soap and water every day, but it is not always convenient to do this. You may then use the brush-cleaner. This is a tin box with a false bottom of perforated tin or of wire netting about half-way down, which allows the liquid to stand a half-inch or so above it; so that when you put your brush in and rub it around, the paint is rinsed from it, and settles through the perforations to the bottom, leaving the liquid clear again above it. If you use this carefully, cleaning one brush at a time, not rubbing it too hard, and pulling the hairs straight by wiping them on a clean rag, you may keep your brushes in good condition quite easily. But they will need a careful soap-and-water washing every little while, beside. The liquid best for use in this cleaner is the common kerosene or coal oil. Never use turpentine to rinse your brushes. It will make them brittle and harsh; but the kerosene will remove all the paint and will not affect the brush.
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 Red Sable. Round.  Red Sable.  Red Sable. Flat.  Round Bristle.  Flat Bristle.  Flat Pointed.  Fan. |
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