text:
Lennon–McCartney
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2016) (Learn how and when to remove this template message)
John Lennon (left) and Paul McCartney (right) in 1964
Lennon–McCartney was the songwriting partnership between English musicians John Lennon (9 October 1940 – 8 December 1980) and Paul McCartney (born 18 June 1942) of the Beatles. It is one of the best known and most successful musical collaborations in history, with the Beatles selling over 600 million records, tapes and CDs as of 2004.[1] Between 1962 and 1969, the partnership published approximately 180 jointly credited songs, of which the vast majority were recorded by the Beatles, forming the bulk of their catalogue.
Unlike many songwriting partnerships that comprise separate lyricist and composer,[2] both Lennon and McCartney wrote words and music. Sometimes, especially early on, they would collaborate extensively when writing songs, working "eyeball to eyeball" as Lennon put it.[3] Later, it became more common for one of the two credited authors to write all or most of a song with limited input from the other.
By an agreement made before the Beatles became famous, Lennon and McCartney were credited equally with songs that either one of them wrote while their partnership lasted. Lennon–McCartney compositions have been the subject of numerous cover versions. According to Guinness World Records, "Yesterday" has been recorded by more artists than any other song.[4] The Sunday Times called Lennon and McCartney the greatest composers since Ludwig van Beethoven.[5]
Contents
[hide]
1 Meeting
2 Writing chemistry
3 Credit variations and disputes
3.1 Joint credit
3.2 Lennon–McCartney vs McCartney–Lennon
3.3 Lennon–McCartney and others
4 Legacy
4.1 Cultural impact
4.2 Beatles catalog
5 Non-Beatles songs
6 Unreleased songs
7 See also
8 Notes and references
9 External links
Meeting[edit]
McCartney and Lennon, 1964
The pair met on 6 July 1957, at a local church fête, where Lennon was playing with his skiffle group, the Quarrymen. McCartney, brought along by a mutual friend, Ivan Vaughan, impressed Lennon with his ability on the guitar and his version of Eddie Cochran's '20 Flight Rock'. Soon after, Lennon asked McCartney if he would join the Quarrymen. McCartney accepted.[6][7] The duo's first musical idols were the Everly Brothers, Little Richard, Chuck Berry, Elvis Presley, Buddy Holly and Smokey Robinson and the Miracles and they learned many of their songs and imitated their sound.[8] Their first compositions were written at McCartney's home (20 Forthlin Road), at Lennon's aunt Mimi's house (251 Menlove Avenue) or at the Liverpool Institute.[9] They often invited friends—including George Harrison, Nigel Walley, Barbara Baker, and Lennon's art school colleagues—to listen to performances of their new songs.[10]
Writing chemistry[edit]
Lennon said the main intention of the Beatles' music was to communicate, and that, to this effect, he and McCartney had a shared purpose. Author David Rowley points out that at least half of all Lennon–McCartney lyrics have the words "you" and/or "your" in the first line.[11] In Lennon's 1980 Playboy interview, he said of the partnership,
[Paul] provided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes. There was a period when I thought I didn't write melodies, that Paul wrote those and I just wrote straight, shouting rock 'n' roll. But, of course, when I think of some of my own songs—"In My Life", or some of the early stuff, "This Boy"—I was writing melody with the best of them.[12]
Historian Todd Compton has noted that there is some truth to Lennon's statement regarding McCartney's optimism. However, it does not tell the whole story, as some of McCartney's most characteristic songs are tragic, or express themes of isolation, such as "Yesterday", "She's Leaving Home", "Eleanor Rigby" or "For No One".[13]
Although Lennon and McCartney often wrote independently—and many Beatles songs are primarily the work of one or the other—it was rare that a song would be completed without some input from both writers. In many instances, one writer would sketch an idea or a song fragment and take it to the other to finish or improve; in some cases, two incomplete songs or song ideas that each had worked on individually would be combined into a complete song. Often one of the pair would add a middle eight or bridge section to the other's verse and chorus.[14] George Martin attributed the high quality of their songwriting to the friendly rivalry between the two.[15] This approach of the Lennon–McCartney songwriting team—with elements of competitiveness and mutual inspiration as well as straightforward collaboration and creative merging of musical ideas—is often cited[by whom?] as a key reason for the Beatles' innovation and popular success.[citation needed]
As time went on, the songs increasingly became the work of one writer or the other, often with the partner offering up only a few words or an alternative chord. "A Day in the Life" is a notable and well-known example of a later Beatles song that includes substantial contributions by both Lennon and McCartney, where a separate song fragment by McCartney ("Woke up, fell out of bed, dragged a comb across my head ...") was used to flesh out the middle of Lennon's composition ("I read the news today, oh boy ..."). "Hey Jude" is another example of a later McCartney song that had input from Lennon: while auditioning the song for Lennon, when McCartney came to the lyric "the movement you need is on your shoulder", McCartney assured Lennon that he would change the line—which McCartney felt was nonsensical—as soon as he could come up with a better lyric. Lennon advised McCartney to leave that line alone, saying it was one of the strongest in the song.[16]
Credit variations and disputes[edit]
Joint credit[edit]
When McCartney and Lennon met as teenagers and began writing songs together, they agreed that all songs written by them (whether individually or jointly) should be credited to both of them.[17] The precise date of the agreement is unknown; however, Lennon spoke in 1980 of an informal agreement between him and McCartney made "when we were fifteen or sixteen".[18] Two songs written (primarily by Lennon) in 1957, "Hello Little Girl" and "One After 909", were credited to the partnership when published in the following decade.[19] The earliest Beatles recording credited to Lennon–McCartney to be officially released is "You'll Be Mine", recorded at home in 1960 and included on Anthology 1 35 years later.[20]
Some other compositions from the band's early years are not credited to the partnership. "In Spite of All the Danger", a 1958 composition that the band (then The Quarrymen) paid to record to disc, is attributed to McCartney and George Harrison. "Cayenne", recorded at the same time as "You'll Be Mine", is a solo McCartney composition. "Cry for a Shadow", recorded during the Beatles' sessions with Tony Sheridan in June 1961, was written by Lennon and Harrison.
By 1962, the joint credit agreement was in effect. From the time of the Beatles' first A&R audition in January that year, until Lennon's announcement in September 1969 that he was leaving the band, virtually all songs by McCartney or Lennon were published with joint credit. The only exceptions were a handful of the McCartney compositions released by other artists (viz. "Woman" by Peter and Gordon in 1966, "Cat Call" by Chris Barber in 1967, and "Penina" by Carlos Mendes in 1969).
After the partnership had ended, Lennon and McCartney each gave multiple accounts of their individual contribution to each jointly credited song, and sometimes claimed full authorship. Often their memories of collaboration differed, but often their early and late interviews are in conflict.[21] The following five cases are prominent examples of differences between their recollections:
"Help!" (1965) was often claimed by Lennon in his late interviews. However, Paul McCartney claims to have helped on the "countermelody", estimating the song as "70–30" to Lennon.[22][23][24] During an interview with Playboy in 1984, McCartney stated that "John and I wrote it at his house in Weybridge for the film".[24] John in fact described the song as co-written in 1965 interviews.[25]
Although Lennon said that McCartney helped only with "the middle eight" (a short section) of "In My Life",[26] McCartney has said that he wrote the entire melody, taking inspiration from Smokey Robinson songs.[27]
McCartney said that he wrote "Eleanor Rigby"(1966) on a piano in Jane Asher's music room in Wimpole Street,[28] and later played it to Donovan before it was finished—a claim which Donovan confirmed.[29] Lennon said, in 1972, that he wrote 70 percent of the "Eleanor Rigby" lyrics,[30] but Pete Shotton, Lennon's childhood friend, remembered Lennon's contribution as being "absolutely nil".[31] In 1985, McCartney said that Lennon had contributed "about half a line" to the song, but elsewhere (including a 1966 interview) he describes finishing the song with more substantial collaboration with Lennon.[32] George Harrison also contributed to this song. According to journalist Hunter Davies, the last verse was finished with all the Beatles giving suggestions in the studio.[33]
Whilst Lennon said that McCartney's contribution to "Ticket to Ride" was limited to "the way Ringo played the drums",[34] McCartney said "we sat down and wrote it together ... give him 60 percent of it."[35]
The song "And Your Bird Can Sing" is supposedly primarily by John Lennon, but Paul McCartney claims to have helped on the lyric, estimating the song as "80–20" to Lennon.[36]
Lennon–McCartney vs McCartney–Lennon[edit]
In October 1962, the Beatles released their first single in the UK, "Love Me Do", credited to "Lennon–McCartney". However, on their next three releases the following year (viz. the single "Please Please Me", the Please Please Me LP, and the single "From Me to You"), the credit was given as "McCartney–Lennon".[37] With the "She Loves You" single, released in August 1963, the credit reverted to "Lennon–McCartney", and all subsequent official Beatles singles and albums list "Lennon–McCartney" (UK) or "J. Lennon/P. McCartney" (US) as the author of songs written by the two.
In 1976 McCartney's band Wings released their live album Wings over America with songwriting credits for five Beatles songs reversed to place McCartney's name first. Neither Lennon nor Yoko Ono publicly "voiced a word of disapproval about it".[38] Many years after Lennon's death however, in the late 1990s, McCartney and Ono became involved in a dispute over the credit order.[39] McCartney's 2002 live album, Back in the U.S., also used the credit "Paul McCartney and John Lennon" for all of the Beatles songs.[40] When Ono objected to McCartney's request for the reversed credit to be used for the 1965 song "Yesterday", McCartney said that he and Lennon had agreed in the past that the credits could be reversed, if either of them wanted to, on any future releases. In 2003, he relented, saying, "I'm happy with the way it is and always has been. Lennon and McCartney is still the rock 'n' roll trademark I'm proud to be a part of—in the order it has always been."[39] An in-depth analysis of the legal issues was the subject of a 66-page article in the Pepperdine Law Review in 2006.[41]
Lennon–McCartney and others[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011) (Learn how and when to remove this template message)
A number of songs written primarily by the duo and recorded by the Beatles were credited as follows:
"What Goes On" (1965): Lennon–McCartney–Starkey[42]
"Flying" (1967): Harrison–Lennon–McCartney–Starkey[43]
"Dig It" (1969): Harrison–Lennon–McCartney–Starkey[44]
"Maggie Mae" (1969): Arrangement by Lennon–McCartney–Harrison–Starkey
"Free as a Bird" (1995): Original composition by John Lennon; Beatles version credited to John Lennon, Paul McCartney, George Harrison and Ringo Starr
"Christmas Time (Is Here Again)" (1995 edit of 1967 fan club version): Harrison–Lennon–McCartney–Starkey[45]
The German-language versions of "I Want to Hold Your Hand" and "She Loves You" were also credited to additional songwriters for assisting with the translation. "Komm, Gib Mir Deine Hand" was credited to Lennon–McCartney–Nicolas–Hellmer and "Sie Liebt Dich" was credited to Lennon–McCartney–Nicolas–Montague.
Legacy[edit]
Cultural impact[edit]
See also: Cultural impact of the Beatles
Lennon–McCartney, along with the Rolling Stones' songwriting partnership between Mick Jagger and Keith Richards, as well as other British Invasion songwriters, inspired changes to the music industry because they were bands that wrote and performed their own music. This trend threatened the professional songwriters that dominated the American music industry. Ellie Greenwich, a Brill Building songwriter, said, “When the Beatles and the entire British Invasion came in, we were all ready to say, ‘Look, it’s been nice, there’s no more room for us… It’s now the self-contained group- males, certain type of material. What do we do?"[46]
Beatles catalog[edit]
The Lennon–McCartney songwriting partnership makes up the majority of the Beatles' catalogue. The first two UK studio albums included 12 cover tunes and 15 Lennon–McCartney songs,[47][48] with one track ("Don't Bother Me") credited to George Harrison.[48] Their third UK album, A Hard Day's Night (1964), is the only original Beatles album made up entirely of Lennon–McCartney compositions.[49] The next album released, Beatles for Sale (1964), included six covers and eight Lennon–McCartney originals.[50] The subsequent release, Help! (1965), had two covers and two Harrison compositions along with ten Lennon–McCartney tracks and was the last Beatles album to feature a cover until Let It Be, which featured an arrangement of the traditional Liverpool folk song "Maggie Mae". All other songs released on studio albums by the band after Help! were original compositions, with George Harrison contributing between one and four songs on each record, Ringo Starr writing two songs ("Don't Pass Me By" and "Octopus's Garden") and being given joint credit with Lennon and McCartney for a third ("What Goes On"), and a fourth and fifth joint credit on "Flying" and "Dig It" (both songs credited to all four Beatles), and the rest of the catalogue coming from Lennon and McCartney.
Lennon and McCartney gave songs to Starr to sing, and to Harrison before he started writing his own material. As for the songs they kept for themselves, each partner mostly sang his own composition, often with the other providing harmonies, or they shared lead vocal. If each contributed a fragment to make a whole song, he might sing his portion (see "I've Got a Feeling" and "A Day in the Life"). "Every Little Thing" is a rare example of a Lennon–McCartney composition written by one member of the partnership (McCartney) and sung by the other (Lennon).[51]
Non-Beatles songs[edit]
Several songs credited to Lennon–McCartney were originally released by artists other than the Beatles, especially those managed by Brian Epstein. Recording a Lennon–McCartney song helped launch new artists' careers. Many of the recordings below were included on the 1979 compilation album The Songs Lennon and McCartney Gave Away.[52] Beatles versions of some of these were recorded; some were not released until after their split, on compilations such as Live at the BBC (1993) and The Beatles Anthology (1995–96).
Year
Artist
Song
Peak Chart
Position
Notes
1963 The Rolling Stones "I Wanna Be Your Man" UK #12 Beatles version released later in 1963 on With the Beatles
1963 Billy J. Kramer with The Dakotas "I'll Be on My Way" (B-side) Beatles version released on Live at the BBC
1963 Billy J. Kramer with The Dakotas "Bad to Me" UK #1 Beatles version released on iTunes download "The Beatles Bootleg Recordings 1963
1963 Billy J. Kramer with The Dakotas "I Call Your Name" (B-side) Beatles version released on The Beatles' Second Album (US) and the Long Tall Sally EP (UK) in 1964
1963 Billy J. Kramer with The Dakotas "I'll Keep You Satisfied" UK #4
1964 Billy J. Kramer with The Dakotas "From a Window" UK #10
1963 Tommy Quickly "Tip of My Tongue" –
1963 The Fourmost "Hello Little Girl" UK #9 Beatles version released on Anthology 1
1963 The Fourmost "I'm in Love" UK #17 Beatles version released on iTunes download "The Beatles Bootleg Recordings 1963
1963 Cilla Black "Love of the Loved" UK #35 Beatles version released on I Saw Her Standing There
1964 Cilla Black "It's for You" UK #7
1968 Cilla Black "Step Inside Love" UK #8 Beatles version released on Anthology 3
1964 The Strangers with Mike Shannon "One and One Is Two" – The song was rejected by Billy J. Kramer. The Strangers with Mike Shannon were South African.[53]
1964 Peter & Gordon "A World Without Love" UK #1
1964 Peter & Gordon "Nobody I Know" UK #10
1964 Peter & Gordon "I Don't Want to See You Again" –
1964 The Applejacks "Like Dreamers Do" UK #20 Beatles version released on Anthology 1
1965 P.J. Proby "That Means a Lot" UK #30 Beatles version released on Anthology 2
1968 Black Dyke Mills Band "Thingumybob" – Developed from an early version known as "Etcetera", demoed by Paul McCartney during a session for "Mother Nature's Son" on 20 August 1968.[54]
1969 Mary Hopkin "Goodbye" UK #2
1969 Plastic Ono Band "Give Peace a Chance" UK #2 Although composed alone by Lennon, McCartney was credited as co-composer on the single appearance and on Lennon's compilation albums Shaved Fish and The John Lennon Collection. The credit was revised in the 1990s to cite only Lennon.
Note that several songs released during this period were credited solely to Paul McCartney:
Year
Artist
Song
Peak Chart
Position
Notes
1966 Peter & Gordon "Woman" UK #28; US #14 McCartney is credited as "Bernard Webb".
1966 The George Martin Orchestra The Family Way – McCartney composed most of the music for this soundtrack.
1967 The Chris Barber Band "Catcall" – Originally known as "Catswalk", performed from 1958 to 1962 and revisited during the Get Back sessions in January 1969.[55]
1969 Carlos Mendes "Penina" –
1969 Badfinger "Come and Get It" UK #4 The original demo was included on Anthology 3.
Unreleased songs[edit]
The following compositions are believed to have been written by Lennon and McCartney, but never officially released by The Beatles or any other artist. Many have appeared on Beatles bootlegs; a notable exception being "Carnival of Light".[56] The list of unreleased songs includes some of the earliest Lennon–McCartney joint works dating back to The Quarrymen, the group which evolved into the Beatles.[57] Several of these songs were revisited during the Get Back sessions of early 1969.[58]
Title
Year
Notes
"I Lost My Little Girl" 1956 First song written by McCartney. Performed by The Beatles (with Lennon on lead vocals) during the Get Back sessions.[59] A performance of this song can be heard on McCartney's 1991 album Unplugged (The Official Bootleg).
"Too Bad About Sorrows" 1957 One of the earliest Lennon–McCartney compositions. Briefly sung by Lennon during the Get Back sessions of 8 January 1969; sung by McCartney during Get Back sessions of 21 January 1969.[60][61][62]
"Just Fun" 1957 Played by The Quarrymen from 1957 to 1959; briefly sung (by Lennon) during the Get Back sessions of 8 January 1969.[60][61][63][64]
"Keep Looking That Way" 1957 Played by The Quarrymen.[60]
"Looking Glass" 1957 Instrumental. Mentioned in 1969 film outtakes; unknown if performed during Get Back sessions.[65]
"That's My Woman" 1957 Played by The Quarrymen.[60][66]
"Thinking of Linking" 1957 Played by The Quarrymen; briefly sung by Lennon during the Get Back sessions of 29 January 1969;[60][67][68] performed by McCartney, Harrison and Starr for The Beatles Anthology.
"Winston's Walk" 1957 Instrumental.[69][70]
"Years Roll Along" 1957 Played by The Quarrymen.[60][69]
"Because I Know You Love Me So" 1960 Country-influenced duets briefly sung by Lennon and McCartney during the Get Back sessions of 3 January 1969.[71][72]
"I'll Wait Till Tomorrow" 1960
"I've Been Thinking That You Love Me" 1960 Briefly performed during the Get Back sessions of 3 January 1969.[71][72]
"Won't You Please Say Goodbye" 1960 Briefly sung by Lennon during the Get Back sessions of 3 January 1969.[71][72]
"Some Days" 1960 Speculative titles based on taped works-in-progress.[69][73] "You'll Be Mine", also recorded at the time, was released on Anthology 1.
"You Must Write Everyday" 1960
"Well Darling" 1960
"Come on People" 1960
"I Don't Know" 1960
"I Fancy Me Chances" 1962 Performed live in 1962 and briefly during the Get Back sessions; the latter was released as "Fancy My Chances with You" on the bonus disc of Let It Be... Naked.[74][75]
"Pinwheel Twist" 1962 Performed live in 1962.[74]
"Carnival of Light" 1967 Recorded on 5 January 1967; nearly 14-minute-long experimental collage.[56][76]
"Shirley's Wild Accordion" 1967 Recorded on 12 October 1967; instrumental intended for Magical Mystery Tour film.[77]
"Commonwealth" 1969 Improvised studio jam satirising Enoch Powell's claim in a 1968 speech that immigration into the UK would cause a race war. Sung by McCartney during the Get Back sessions of 9 January 1969.[63][78][79]
"Song of Love" 1969 Sung by McCartney; performed during the Get Back sessions of 14 January 1969.[80]
"Watching Rainbows" 1969 Sung by Lennon; performed during the Get Back sessions of 14 January 1969.[80][81]
"Madman" 1969 Sung by Lennon; performed during the Get Back sessions of 14 and 21 January 1969.[80][82]
See also[edit]
Book: Lennon–McCartney
List of songs recorded by The Beatles
List of songwriter collaborations
The Beatles bootleg recordings
Notes and references[edit]
Jump up ^ Staff Writers, CNNMoney.com (9 September 2009). "Beatles' remastered box set, video game out". CNNMoney.com. Retrieved 1 December 2011.
Jump up ^ Such as Jerry Leiber and Mike Stoller, Rodgers and Hammerstein, Hal David and Burt Bacharach, Elton John and Bernie Taupin.
Jump up ^ Sheff 2000, p. 137.
Jump up ^ "Most Recorded Song". Guinness World Records. Archived from the original on 10 September 2006. Retrieved 12 May 2009.
Jump up ^ Gaar, Gillian G. (8 Feb 2011). "Best Overall: The Beatles, The Songwriting Team of Lennon and McCartney". Goldmine Magazine.
Jump up ^ Burlingame, Jeff. John Lennon "Imagine." Berkeley Heights: Enslow Publishers, 2011. Print.
Jump up ^ Conord, Bruce W. John Lennon. New York: Chelsea House Publishers, 1994. Print.
Jump up ^ Spitz 2005, pp. 131–32.
Jump up ^ Miles 1997, p. 34.
Jump up ^ Spitz 2005, p. 135.
Jump up ^ Rowley 2008, p. 3.
Jump up ^ Sheff 2000, p. 136. "In My Life" was the main song on which Lennon and McCartney disagreed, see below..
Jump up ^ Compton 2017, p. 382.
Jump up ^ Miles 1997, p. 107.
Jump up ^ Coleman, Ray (1992). Lennon. New York, New York: HarperCollins. p. 363-364. ISBN 0-06-098608-5.
Jump up ^ The Beatles Anthology documentary
Jump up ^ Garcia, Gilbert (27 January 2003). "The ballad of Paul and Yoko". salon.com. Retrieved 13 December 2009.
Jump up ^ Sheff 2000, p. 214.
Jump up ^ MacDonald 2005, p. 53.
Jump up ^ Unterberger 2006, pp. 5–6.
Jump up ^ Compton 2017, pp. 5-8.
Jump up ^ MacDonald 2005, p. 153.
Jump up ^ Miles 1997, p. 199.
^ Jump up to: a b Goodman 1984, p. 2.
Jump up ^ Compton 2017, pp. 106.
Jump up ^ Miles 1997, p. 278.
Jump up ^ Miles 1997, p. 277.
Jump up ^ Miles 1997, p. 281.
Jump up ^ Miles 1997, p. 282.
Jump up ^ Miles 1997, p. 283.
Jump up ^ Miles 1997, p. 284.
Jump up ^ Compton 2017, pp. 146.
Jump up ^ Compton 2017, pp. 144, 146.
Jump up ^ Sheff 2000, p. 196.
Jump up ^ Miles 1997, p. 193.
Jump up ^ MacDonald 2005, p. 199.
Jump up ^ Lewisohn 1988, pp. 23, 32.
Jump up ^ "The Ballad of Paul and Yoko". 27 January 2003.
^ Jump up to: a b "McCartney makes up with Ono". BBC News. 1 June 2003.
Jump up ^ Lister, David (28 December 2002). "Let it be, Sir Paul (as someone or other once said)". The Independent. London.
Jump up ^ Landes, Ezra D. (2006). "I Am the Walrus – No. I Am!: Can Paul McCartney Transpose the Ubiquitous 'Lennon–McCartney' Songwriting Credit to Read 'McCartney/Lennon?" An Exploration of the Surviving Beatle's Attempt to Re-Write Music Lore, as it Pertains to the Bundle of Intellectual Property Rights". Pepperdine Law Review. 34: 185.
Jump up ^ Lewisohn 1988, p. 28.
Jump up ^ "Magical Mystery Tour - The Beatles | Songs, Reviews, Credits | AllMusic". AllMusic. Retrieved 2016-08-02.
Jump up ^ "Dig It - The Beatles | Song Info | AllMusic". AllMusic. Retrieved 2016-08-02.
Jump up ^ "Ultra Rare Trax, Vol. 5 - The Beatles | Songs, Reviews, Credits | AllMusic". AllMusic. Retrieved 2016-08-02.
Jump up ^ Inglis, Ian (2000). The Beatles, Popular Music and Society. New York: St. Martin's Press. p. 53. ISBN 0-312-22236-X.
Jump up ^ Erlewine, Stephen Thomas. "Overview of Please Please Me". Allmusic. Retrieved 14 December 2009.
^ Jump up to: a b Erlewine, Stephen Thomas. "Review of With the Beatles". Allmusic. Retrieved 14 December 2009.
Jump up ^ "Overview of A Hard Day's Night". Allmusic.
Jump up ^ "Overview of Beatles for Sale". Allmusic.
Jump up ^ MacDonald 2005, p. 128.
Jump up ^ Calkin, Graham. "The Songs Lennon and McCartney Gave Away". JPGR. Retrieved 14 December 2009.
Jump up ^ Winn 2008, p. 120.
Jump up ^ "The Beatles Bible".
Jump up ^ "Beatles Wiki".
^ Jump up to: a b Shea & Rodriguez 2002, p. 301.
Jump up ^ Everett 2001, p. 25.
Jump up ^ Everett 2001, p. 27.
Jump up ^ "Watch the Lost Beatles". NPR's Online Music Show. Retrieved 1 November 2006.
^ Jump up to: a b c d e f MacDonald 2007, p. 77.
^ Jump up to: a b Sulpy & Schweighardt 1999, p. 119.
Jump up ^ Unterberger 2006, p. 248.
^ Jump up to: a b Unterberger 2006, p. 242.
Jump up ^ Fricke, David (10 August 2016). "Paul McCartney Looks Back: The Rolling Stone Interview". Rolling Stone.
Jump up ^ Everett 2001, pp. 26–7.
Jump up ^ Everett 2001, p. 372.
Jump up ^ Sulpy & Schweighardt 1999, p. 297.
Jump up ^ Unterberger 2006, p. 260.
^ Jump up to: a b c Everett 2001, pp. 25–6.
Jump up ^ Unterberger 2006, p. 12.
^ Jump up to: a b c Sulpy & Schweighardt 1999, p. 37.
^ Jump up to: a b c Unterberger 2006, pp. 236–7.
Jump up ^ Wiener 1994, p. 424.
^ Jump up to: a b MacDonald 2007, p. 78.
Jump up ^ Unterberger 2006, p. 254.
Jump up ^ Unterberger 2006, p. 187.
Jump up ^ Unterberger 2006, p. 189.
Jump up ^ Sulpy & Schweighardt 1999, pp. 157–8.
Jump up ^ MacDonald 2007, p. 334.
^ Jump up to: a b c Unterberger 2006, p. 247.
Jump up ^ Sulpy & Schweighardt 1999, p. 201.
Jump up ^ Sulpy & Schweighardt 1999, pp. 201–2.
Bibliography
Compton, Todd (2017). Who Wrote the Beatle Songs? A History of Lennon-McCartney. San Jose: Pahreah Press. ISBN 978-0-9988997-0-1.
Everett, Walter (2001). The Beatles As Musicians: The Quarry Men through Rubber Soul. New York: Oxford University Press. ISBN 978-0-19-514105-4.
Goodman, Joan (1984). "Playboy Interview With Paul and Linda McCartney". Beatles Interview Database. Retrieved 6 December 2009.
Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1.
MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (Second Revised ed.). London: Pimlico (Rand). ISBN 1-84413-828-3.
MacDonald, Ian (2007). Revolution in the Head: The Beatles' Records and the Sixties. Chicago: Chicago Review Press. ISBN 978-1-55652-733-3.
Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt and Company. ISBN 0-8050-5249-6.
Rowley, David (2008). Help! 50 Songwriting, Recording and Career Tips used by the Beatles. Matador. ISBN 978-1-906221-37-9.
Shea, Stuart; Rodriguez, Robert (2002). Fab Four FAQ: Everything Left to Know About the Beatles ... and More!. New York: Hal Leonard Corporation. ISBN 978-1-4234-2138-2.
Sheff, David (2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press. ISBN 0-312-25464-4.
Spitz, Bob (2005). The Beatles: The Biography. Boston: Little, Brown. ISBN 0-316-80352-9.
Sulpy, Doug; Schweighardt, Ray (1999). Get Back: The Unauthorized Chronicle of the Beatles' 'Let It Be' Disaster. New York: St. Martin's Griffin. ISBN 978-0-312-19981-4.
Unterberger, Richie (2006). Unreleased Beatles Music and Film. San Francisco: Backbeat Books. ISBN 978-0-87930-892-6.
Wiener, Allen J. (1994). The Beatles: The Ultimate Recording Guide. Holbrook, Mass.: Adams Media. ISBN 978-1-55850-414-1.
Winn, John C. (9 December 2008). Way Beyond Compare: The Beatles' Recorded Legacy, 1957–1965. Three Rivers Press. ISBN 978-0-307-45157-6.
External links[edit]
"Two of Us: Inside the Lennon/McCartney Connection", by Joshua Wolf Shenk, Slate.com
The Lennon-McCartney Songwriting Partnership
An Introduction to Compton's Who Wrote the Beatle Songs? A History of Lennon-McCartney, with a list of his ascriptions of all the songs written by the Beatles
Songs the Beatles Gave Away compiled by Joseph Brennan; includes Lennon–McCartney songs and others
A list of the songs John Lennon and Paul McCartney gave to other artists during the Beatle years originally posted on Usenet rec.music.beatles 9 November 1994.
Unreleased Beatles compositions showcased in Liverpool and Seattle, and on CD titled Off the Beatle Track (23 June 2009): http://www.prweb.com/releases/2009/06/prweb2550404.htm
[hide]
v
t
e
The Beatles
John Lennon
Paul McCartney
George Harrison
Ringo Starr
Stuart Sutcliffe
Pete Best
History
The Quarrymen
In Hamburg
At The Cavern Club
Decca audition
Beatlemania in the United Kingdom
North American releases
In the United States
More popular than Jesus
In India
Breakup
Murder of John Lennon
Anthology
Love (Cirque du Soleil)
The Beatles: Rock Band
Line-ups
Religious views
Timeline
Live performances
1960 Johnny Gentle Tour
Winter 1963 Helen Shapiro UK Tour
1963 Roy Orbison Tour
1964 world tour
1965 European tour
1965 US tour
1965 UK tour
1966 tour of Germany, Japan and the Philippines
1966 US tour
Rooftop concert
List of live performances
Associated places
34 Montagu Square, Marylebone
Abbey Road, London
Abbey Road Studios
The Bag O'Nails
Beatlemania Hamburg
Beatles-Platz
Blue Angel
The Casbah Coffee Club
Candlestick Park
The Cavern Club
Kaiserkeller
Kinfauns
3 Savile Row
The Scotch of St. James
Shea Stadium
Stanley Street
Star-Club
Strawberry Field
Tittenhurst Park
The Top Ten Club
Wigmore Street
Yellow Submarine sculpture
Associated companies
Apple Corps
Apple Records
Harrisongs
Lingasong Records
Northern Songs
Phillips' Sound Recording Services
Seltaeb
Startling Music
Influence
Artists who have covered the Beatles
Beatlemania
Beatlesque
British Invasion
Cultural impact
The Fest for Beatles Fans
The Rutles
Tributes
Lists
Awards and nominations
Bootlegs
Cover songs
Discography
Instruments
Performers
Post-breakup collaborations
Recording sessions
Songs
Sgt. Pepper cover
Related media
Around the Beatles
Beat Bugs
The Beatles (TV series)
The Beatles Anthology (book)
The Beatles Channel
The Beatles Illustrated Lyrics
The Beeb's Lost Beatles Tapes
The Beatles Tapes from the David Wigg Interviews
Everyday Chemistry
In My Life
Let It Be (musical)
Rain: A Tribute to the Beatles
Sgt. Pepper's Lonely Hearts Club Band (film)
The Twelfth Album
Up Against It
Other topics
Apple Corps v Apple Computer
Apple scruffs
Beatle boots
Beatles Day
Fifth Beatle
Lennon–McCartney
Jeff Lynne and the Beatles
Paul is dead
Recording technology
Book
Category
Portal
Retrieved from "https://en.wikipedia.org/w/index.php?title=Lennon–McCartney&oldid=811605969"
Categories:
Songs written by Lennon–McCartney
The Beatles music
English musical duos
John Lennon
Paul McCartney
Musical groups established in 1962
Rock music duos
Songwriting teams
Male musical duos
Hidden categories:
Use British English from November 2010
Use dmy dates from July 2014
BLP articles lacking sources from April 2016
All BLP articles lacking sources
Articles with specifically marked weasel-worded phrases from April 2016
All articles with unsourced statements
Articles with unsourced statements from April 2016
Articles needing additional references from September 2011
All articles needing additional references
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Català
Čeština
Deutsch
Español
Français
한국어
Bahasa Indonesia
Italiano
עברית
ქართული
Latviešu
Magyar
Nederlands
日本語
Norsk
Norsk nynorsk
Polski
Português
Русский
Simple English
Slovenčina
Svenska
Türkçe
Українська
Tiếng Việt
中文
Edit links
This page was last edited on 22 November 2017, at 18:52.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

value: img

attrs: alt src width height srcset data-file-width data-file-height

value: b

value: span

value: small

values: plainlinks metadata ambox ambox-content ambox-BLP_sources

values:
/wiki/Liverpool_Institute
mw-redirect
Liverpool Institute

values:
/wiki/Playboy_Interview
mw-redirect
Playboy Interview

values:
/wiki/Middle_eight
mw-redirect
Middle eight

values: The material near this tag may use weasel words or too-vague attribution. (April 2016)

values: Wikipedia:Manual of Style/Words to watch

values: This claim needs references to reliable sources. (April 2016)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values: Edit section: Credit variations and disputes

values:
/wiki/Cayenne_(song)
mw-redirect
Cayenne (song)

values:
/wiki/Smokey_Robinson_and_the_Miracles
mw-redirect
Smokey Robinson and the Miracles

values: Edit section: Lennon–McCartney vs McCartney–Lennon

values:
/wiki/Wings_(band)
mw-redirect
Wings (band)

values: Edit section: Lennon–McCartney and others

values: Help:Introduction to referencing with Wiki Markup/1

values: plainlinks metadata ambox ambox-content ambox-Refimprove

values:
/wiki/What_Goes_On_(The_Beatles_song)
mw-redirect
What Goes On (The Beatles song)

values:
/wiki/Flying_(The_Beatles_song)
mw-redirect
Flying (The Beatles song)

values:
/wiki/Dig_It_(The_Beatles_song)
mw-redirect
Dig It (The Beatles song)

values: Komm, Gib Mir Deine Hand / Sie Liebt Dich

values:
/wiki/Rolling_Stones
mw-redirect
Rolling Stones

values: The Songs Lennon and McCartney Gave Away

values:
/wiki/Billy_J._Kramer_with_The_Dakotas
mw-redirect
Billy J. Kramer with The Dakotas

values:
/wiki/Peter_%26_Gordon
mw-redirect
Peter & Gordon

values:
headerSort
0
columnheader button
Sort ascending

values:
nofollow
external text
https://www.allmusic.com/album/r1502

values:
nofollow
external text
https://www.allmusic.com/album/r1506

values:
nofollow
external text
https://www.allmusic.com/album/r1508

values:
nofollow
external text
http://www.jpgr.co.uk/col_nut18.html

values:
nofollow
external text
http://www.beatleswiki.org/wiki/Catcall

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values:
/wiki/Little,_Brown
mw-redirect
Little, Brown

values:
nofollow
external text
http://www.bbc.co.uk/dna/h2g2/A5950929

values:
The_Beatles
fn org
font-size:114%;margin:0 4em

values:
navbox-abovebelow
2
background: #EEEEEE;

values:
row
navbox-group
width:1%;background: #EEEEEE;

values: List of members of bands featuring members of the Beatles

values: The Beatles Winter 1963 Helen Shapiro Tour

values: The Beatles' 1966 tour of Germany, Japan and the Philippines

values: List of awards and nominations received by the Beatles

values: List of people who performed on Beatles recordings

values: List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band

attrs: alt src title width height srcset data-file-width data-file-height

values: nowraplinks vcard hlist collapsible autocollapse navbox-inner

values: Category:Songs written by Lennon–McCartney

values: Category:Musical groups established in 1962

values: Category:Use British English from November 2010

values: Category:BLP articles lacking sources from April 2016

values: Category:All BLP articles lacking sources

values: Category:Articles with specifically marked weasel-worded phrases from April 2016

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from April 2016

values: Category:Articles needing additional references from September 2011

values: Category:All articles needing additional references

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Lennon%E2%80%93McCartney
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values:
uls-settings-trigger
Language settings
0
button
true

values: interlanguage-link interwiki-fr badge-Q17437796 badge-featuredarticle

values: 레논-매카트니 – Korean

values: לנון ומקרטני – Hebrew

values: ლენონი–მაკ-კარტნი – Georgian

values: レノン＝マッカートニー – Japanese

values: Parceria Lennon e McCartney – Portuguese

values: Леннон — Маккартни – Russian

values: Леннон — Маккартні – Ukrainian

values: 列侬–麦卡特尼 – Chinese

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Lennon–McCartney rootpage-Lennon–McCartney skin-vector action-view


text:
Oil paint
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see House painter and decorator.
View of Delft in oil paint, by Johannes Vermeer.
Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried oil paint film. Oil paints have been used in Europe since the 12th century for simple decoration, but were not widely adopted as an artistic medium until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood in buildings and exposed metal structures such as ships and bridges. Its hard-wearing properties and luminous colors make it desirable for both interior and exterior use on wood and metal. Due to its slow-drying properties, it has recently been used in paint-on-glass animation. Thickness of coat has considerable bearing on time required for drying: thin coats of oil paint dry relatively quickly.
Contents
[hide]
1 History
1.1 First recorded use
1.2 Classical and medieval period
1.3 Renaissance onwards
1.4 Paint tube
2 Carrier
2.1 Characteristics
2.2 Sources
2.3 Extraction methods and processing
3 Pigment
3.1 Toxicity
4 See also
5 References
History[edit]
The technical history of the introduction and development of oil paint, and the date of introduction of various additives (driers, thinners) is still—despite intense research since the mid 18th century—not well understood. The literature abounds with incorrect theories and information: in general, anything published before 1952 is suspect.[1] Until 1991 nothing was known about the organic aspect of cave paintings from the Paleolithic era. Many assumptions were made about the chemistry of the binders.
First recorded use[edit]
The oldest known oil paintings date from 650 AD, found in 2008 in caves in Afghanistan's Bamiyan Valley, "using walnut and poppy seed oils."[2]
Classical and medieval period[edit]
Though the ancient Mediterranean civilizations of Greece, Rome, and Egypt used vegetable oils, there is little evidence to indicate their use as media in painting. Indeed, linseed oil was not used as a medium because of its tendency to dry very slowly, darken, and crack, unlike mastic and wax (the latter of which was used in encaustic painting).
Greek writers such as Aetius Amidenus recorded recipes involving the use of oils for drying, such as walnut, poppy, hempseed, pine nut, castor, and linseed. When thickened, the oils became resinous and could be used as varnish to seal and protect paintings from water. Additionally, when yellow pigment was added to oil, it could be spread over tin foil as a less expensive alternative to gold leaf.
Early Christian monks maintained these records and used the techniques in their own artworks. Theophilus Presbyter, a 12th-century German monk, recommended linseed oil but advocated against the use of olive oil due to its long drying time. Oil paint was mainly used as it is today in house decoration, as a tough waterproof cover for exposed woodwork, especially outdoors.
In the 13th century, oil was used to detail tempera paintings. In the 14th century, Cennino Cennini described a painting technique utilizing tempera painting covered by light layers of oil. The slow-drying properties of organic oils were commonly known to early painters. However, the difficulty in acquiring and working the materials meant that they were rarely used (and indeed the slow drying was seen as a disadvantage[3]).
Renaissance onwards[edit]
As public preference for naturalism increased, the quick-drying tempera paints became insufficient to achieve the very detailed and precise effects that oil could achieve. The Early Netherlandish painting of the 15th century saw the rise of the panel painting purely in oils, or oil painting, or works combining tempera and oil painting, and by the 16th century easel painting in pure oils had become the norm, using much the same techniques and materials found today. The claim by Vasari that Jan van Eyck "invented" oil painting is not correct but has cast a long shadow, but van Eyck's use of oil paint achieved novel results in terms of precise detail and mixing colours wet-on-wet with a skill hardly equalled since. Van Eyck’s mixture may have consisted of piled glass, calcined bones, and mineral pigments boiled in linseed oil until they reached a viscous state—or he may have simply used sun-thickened oils (slightly oxidized by Sun exposure). He left no written documentation.
The Flemish-trained or influenced Antonello da Messina, who Vasari wrongly credited with the introduction of oil paint to Italy,[4] does seem to have improved the formula by adding litharge, or lead (II) oxide. The new mixture had a honey-like consistency and better drying properties (drying evenly without cracking). This mixture was known as oglio cotto—"cooked oil." Leonardo da Vinci later improved these techniques by cooking the mixture at a very low temperature and adding 5 to 10% beeswax, which prevented darkening of the paint. Giorgione, Titian, and Tintoretto each may have altered this recipe for their own purposes.
The use of any cooked oils or Litharge (sugar of Lead) darkens an oil painting rapidly. None of the old Masters whose work survives used these in their paintings. Both ingredients became popular in the 19th century. Since that time, experiments to improve paint and coatings have been conducted with other oils. Modern oil paints are created from bladderpod, ironweed, calendula and sandmat, plants used to increase the resistance or to reduce the drying time.
Paint tube[edit]
Tubes of various colors.
The paint tube was invented in 1841 by portrait painter John Goffe Rand,[5] superseding pig bladders and glass syringes[6] as the primary tool of paint transport. Artists, or their assistants, previously ground each pigment by hand, carefully mixing the binding oil in the proper proportions. Paints could now be produced in bulk and sold in tin tubes with a cap. The cap could be screwed back on and the paints preserved for future use, providing flexibility and efficiency to painting outdoors. The manufactured paints had a balanced consistency that the artist could thin with oil, turpentine, or other mediums.
Paint in tubes also changed the way some artists approached painting. The artist Pierre-Auguste Renoir said, “Without tubes of paint, there would have been no Impressionism.” For the Impressionists, tubed paints offered an easily accessible variety of colors for their plein air palettes, motivating them to make spontaneous color choices. With greater quantities of preserved paint, they were able to apply paint more thickly.
Carrier[edit]
Representative component of a drying oil, this particular triester is derived from three unsaturated fatty acids, linoleic (top), alpha-linolenic (middle), and oleic acids (bottom). The order of drying rate is linolenic > linoleic > oleic acid, reflecting their degree of unsaturation.
Characteristics[edit]
Traditional oil paints require an oil that always hardens, forming a stable, impermeable film. Such oils are called siccative, or drying, oils, and are characterized by high levels of polyunsaturated fatty acids. One common measure of the siccative property of oils is iodine number, the number of grams of iodine one hundred grams of oil can absorb. Oils with an iodine number greater than 130 are considered drying, those with an iodine number of 115-130 are semi-drying, and those with an iodine number of less than 115 are non-drying. Linseed oil, the most prevalent vehicle for artists' oil paints, is a drying oil.
When exposed to air, oils do not undergo the same evaporative process that water does. Instead, they polymerize into a dry semisolid. This rate of process can be very slow, depending on the oil.
The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually. Earlier media such as egg tempera dried quickly, which prevented the artist from making changes or corrections. With oil-based paints, revising was comparatively easy. The disadvantage is that a painting might take months or years to finish, which might disappoint an anxious patron. Oil paints blend well with each other, making subtle variations of color possible as well as creating many details of light and shadow. Oil paints can be diluted with turpentine or other thinning agents, which artists take advantage to paint in layers.
Sources[edit]
Three oil paints, one of which is mixed with wax
The earliest and still most commonly used vehicle is linseed oil, pressed from the seed of the flax plant. Modern processes use heat or steam to produce refined varieties of oil with fewer impurities, but many artists prefer cold-pressed oils.[7] Other vegetable oils such as Hemp, poppy seed, walnut, sunflower, safflower, and soybean oils may be used as alternatives to linseed oil for a variety of reasons. For example, safflower and poppy oils are paler than linseed oil and allow for more vibrant whites straight from the tube.
Extraction methods and processing[edit]
Once the oil is extracted, additives are sometimes used to modify its chemical properties. In this way, the paint can be made to dry more quickly (if that is desired), or to have varying levels of gloss, like Liquin. Modern oils paints can, therefore, have complex chemical structures; for example, affecting resistance to UV. By hand, the process involves first mixing the paint pigment with the linseed oil to a crumbly mass on a glass or marble slab. Then, a small amount at a time is ground between the slab and a glass Muller (a round, flat-bottomed glass instrument with a hand grip). Pigment and oil are ground together 'with patience' until a smooth, ultra-fine paste is achieved. This paste is then placed into jars or metal paint tubes and labelled.
Pigment[edit]
Main article: Pigment
This section needs expansion. You can help by adding to it. (July 2013)
Pigments for sale at a market stall in Goa, India.
The color of oil paint derives from small particles of colored pigments mixed with the carrier. Some of the earliest known pigments are charcoal (black), iron oxide (rust red), and gypsum (white).
Common pigment types include mineral salts such as white oxides: zinc, titanium, and the red to yellow cadmium pigments. Another class consists of earth types, e.g. sienna or umber. Still another group of pigments comes from living organisms, such as madder root.
Synthetic pigments are also now available. Natural pigments have the advantage of being well understood through centuries of use, but synthetics have greatly increased the spectrum of available colors, and many are tested well for their lightfastness.
Toxicity[edit]
Many of the historical pigments were dangerous, and many pigments still in popular use today are highly toxic. Some of the most poisonous pigments, such as Paris green (copper(II) acetoarsenite) and orpiment (arsenic sulfide), have fallen from use.
Many pigments still in use are toxic to some degree. Commonly used reds and yellows are produced using cadmium, and vermilion red uses natural or synthetic mercuric sulfide or cinnabar. Flake white and Cremnitz white are made with basic lead carbonate. Some intense blue colors, including cobalt blue and cerulean blue, are made with cobalt compounds. Some varieties of cobalt violet are made with cobalt arsenate.
See also[edit]
Acrylic paint
Acrylic painting techniques
Drying oil
Egg tempera
Oil painting
Semi-drying oil
Watercolor
Oil painting reproduction
References[edit]
Mayer, Ralph. The Artist's Handbook of Materials and Techniques Viking Adult; 5th revised and updated edition, 1991. ISBN 0-670-83701-6
Jump up ^ Coremans, Gettens, Thissen, La technique des Primitifs flamands, Studies in Conservation 1 (1952)
Jump up ^ "Oldest Oil Paintings Found in Afghanistan" Archived June 3, 2011, at the Wayback Machine., Rosella Lorenzi, Discovery News. Feb. 19, 2008.
Jump up ^ Theophilus Presbyter Book I ch. 25
Jump up ^ Barbera, Giocchino (2005). Antonello da Messina, Sicily's Renaissance Master (exhibition catalogue). New York: Metropolitan Museum of Art Yale University Press. ISBN 0-300-11648-9 (online), p. 14
Jump up ^ Hurt, Perry. "Never Underestimate the Power of a Paint Tube". Smithsonian Magazine. Smithsonian Institution. Retrieved 18 May 2013.
Jump up ^ Callen, Anthea. The Art of Impressionsm: How Impressionism Changed the Art World. Yale University Press. 2000.
Jump up ^ H. Gluck, "The Impermanences of Painting in Relation to Artists' Materials", Journal of the Royal Society of Arts, Volume CXII 1964
[show]
v
t
e
Early Netherlandish art (c. 1420s–1530s)
Early Netherlandish artists
Active mainly in the Southern Netherlands
(mostly present-day Belgium)
Luís Alimbrot
Alexander Bening
Simon Bening
Ambrosius Benson
Lancelot Blondeel
Aelbert Bouts
Dieric Bouts
Melchior Broederlam
Robert Campin
Petrus Christus
Pierre Coustain
Jacques Daret
Gerard David
Jean Delemer
Jan de Beer
Colijn de Coter
Jan Gossaert
Gerard Horenbout
Lucas Horenbout
Adriaen Isenbrandt
Cornelis Liefrinck
Lambert Lombard
Simon Marmion
Quinten Matsys
Hans Memling
Joachim Patinir
Jan Provoost
Aert van den Bossche
Hugo van der Goes
Vrancke van der Stockt
Goswin van der Weyden
Rogier van der Weyden
Jan van Dornicke
Hubert van Eyck
Jan van Eyck
Justus van Gent
Lieven van Lathem
Bernard van Orley
Jacob van Utrecht
Master of Affligem
Master of the Antwerp Adoration
Master of the Embroidered Foliage
Master of the Legend of St. Barbara
Master of the Legend of Saint Lucy
Master of the Legend of St. Ursula (Bruges)
Master of the Legend of the Magdalen
Master of the Lille Adoration
Master of the Lübeck Bible
Master of the Mansi Magdalen
Master of the Morrison Triptych
Master of the Prodigal Son
Master of the View of Ste-Gudule
Active mainly in the Northern Netherlands
(mostly present-day Netherlands)
Hieronymus Bosch
Geertgen tot Sint Jans
Jan Joest van Calcar
Lucas van Leyden
Jacob Cornelisz van Oostsanen
Master of Alkmaar
Master of the Amsterdam Death of the Virgin
Master of the Figdor Deposition
Main centres
Antwerp
Bruges
Brussels
Ghent
Tournai
The Hague
Pioneering innovations
Regular use of oil paints as a principal art medium
Oil painting techniques (oil on panel, glaze, wet-on-wet)
Genre art (genre painting)
Landscape art (world landscape)
Portraiture (portrait painting)
Naturalism (art)
Realism (art)
General
Early Netherlandish painting
Works by Early Netherlandish masters
Flemish Primitives
Arts in the court of Philip the Good
Guild of Saint Luke
Members of the Guild of Saint Luke
Netherlandish art
International Gothic
Northern Renaissance
Netherlandish Renaissance
Northern Mannerism
Antwerp Mannerism
Antwerp school
Ghent-Bruges school
Adoration of the Magi
Nativity of Jesus in art
Influenced
Italian Renaissance painting
German Renaissance painting
Dutch and Flemish Renaissance painting
Dutch Golden Age painting
Notable connoisseurs and scholars
Egbert Haverkamp-Begemann
Till-Holger Borchert
Lorne Campbell
Max Jakob Friedländer
Craig Harbison
Karel van Mander
Erwin Panofsky
Giorgio Vasari
Gustav Friedrich Waagen
Retrieved from "https://en.wikipedia.org/w/index.php?title=Oil_paint&oldid=790972197"
Categories:
Paints
Oils
Hidden categories:
Webarchive template wayback links
Articles to be expanded from July 2013
All articles to be expanded
Articles using small message boxes
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
العربية
Bân-lâm-gú
Беларуская
Български
Bosanski
Čeština
Dansk
Deutsch
Eesti
Español
Esperanto
فارسی
Հայերեն
Hrvatski
Bahasa Indonesia
Íslenska
Lietuvių
Magyar
मराठी
Bahasa Melayu
Nederlands
日本語
Norsk
Polski
Português
Русский
Simple English
Srpskohrvatski / српскохрватски
Suomi
Svenska
ไทย
Українська
粵語
中文
Edit links
This page was last edited on 17 July 2017, at 08:32.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

attrs: id class style

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: href title

attrs: role class

values:
note
hatnote navigation-not-searchable

attrs: alt src width height class srcset data-file-width data-file-height

attrs: href class

attrs: href class title

value: i

attrs: class style

values:
/wiki/Gloss_(paint)
mw-redirect
Gloss (paint)

values:
/wiki/House_painting
mw-redirect
House painting

values:
/wiki/Interior_decoration
mw-redirect
Interior decoration

values:
/wiki/Bamiyan_Valley
mw-redirect
Bamiyan Valley

values: Edit section: Classical and medieval period

values:
/wiki/Vegetable_fats_and_oils
mw-redirect
Vegetable fats and oils

values:
/wiki/Media_(arts)
mw-redirect
Media (arts)

values:
/wiki/Aetius_Amidenus
mw-redirect
Aetius Amidenus

values:
/wiki/Egg_tempera
mw-redirect
Egg tempera

values: A top view of variously colored tubes of paint.

values:
/wiki/Iodine_number
mw-redirect
Iodine number

values:
/wiki/Safflower_oil
mw-redirect
Safflower oil

values: Edit section: Extraction methods and processing

values:
/wiki/Gloss_(material_appearance)
mw-redirect
Gloss (material appearance)

values: plainlinks metadata ambox mbox-small-left ambox-content

values:
/wiki/Clay_earth_pigment
mw-redirect
Clay earth pigment

values:
/wiki/Madder_root
mw-redirect
Madder root

values:
/wiki/Flake_white
mw-redirect
Flake white

values:
/wiki/Cerulean_blue
mw-redirect
Cerulean blue

values:
reflist mw-references-wrap
list-style-type: decimal;

values: Template talk:Early Netherlandish painting

values: Category:Arts in the court of Philip the Good

values: Category:Members of the Guild of Saint Luke

values: German Renaissance painting (page does not exist)

values: nowraplinks hlist collapsible collapsed navbox-inner

values: Category:Webarchive template wayback links

values: Category:Articles to be expanded from July 2013

values: Category:Articles using small message boxes

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Oil_paint
View the content page [ctrl-alt-c]
c

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values: طلاء زيتي – Arabic

values: Алейныя фарбы – Belarusian

values: Маслени бои – Bulgarian

values:
https://eo.wikipedia.org/wiki/Olefarbo
Olefarbo – Esperanto
eo
eo
interlanguage-link-target

values: رنگ روغن – Persian

values: Յուղաներկեր – Armenian

values: तैलरंग – Marathi

values:
https://nl.wikipedia.org/wiki/Olieverf
Olieverf – Dutch
nl
nl
interlanguage-link-target

values:
https://no.wikipedia.org/wiki/Oljefarge
Oljefarge – Norwegian
no
no
interlanguage-link-target

values: Масляные краски – Russian

values: สีน้ำมัน – Thai

values: Олійні фарби – Ukrainian

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Oil_paint rootpage-Oil_paint skin-vector action-view