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The rl t kn wn l paintings t urv v d t b k t about 650AD n w ll at B m n n Afgh n t n. These w ll nt ng r Buddh t w rk , at a ttl m nt along th lk r d. Th d l a w d r ng of pigments and binders, and v n n lud d the use f a f n l v rn h layer. This r f n m nt f th nt ng technique nd th survival f th paintings into the present d suggests that oil nt h d b n u d n A even b f r th 7th ntur . Most European R n n ur , in rt ul r V r , r d t northern Eur n nt r of th 15th century, and J n v n E k n particular, w th the nv nt n f l paints. However, Theophilus clearly g v instructions for l-b d nt ng n his treatise, On Various Arts, wr tt n about 1125. At th r d, t w probably u d f r painting ul tur , rv ng nd w d f tt ng , rh ll for utd r use. Outd r urf and surfaces like h ld both th used in tournaments and those hung d r t n were m r dur bl when nt d in oil-based m d th n when nt d in th tr d t n l t m r nt . H w v r, early Netherlandish nt ng w th rt t l k V n E k and Robert Campin in the rl nd m d-15th ntur w r th f r t t make l th u u l painting medium, nd explore th u of layers nd gl z , followed b th rest f N rth rn Eur , nd nl then It l . Su h w rk were nt d n w d n panels, but t w rd the nd f th 15th century canvas began t be used a u rt, t w cheaper, r t tr n rt, ll w d l rg r works, nd d d not r u r m l t d r l m n r layers f gesso ( f n t f plaster). V n , where l- nv w easily available, w a l d r in th m v t nv . Small cabinet nt ng w r also made on m t l, ll copper l t . Th u rt w r m r x n v but very f rm, ll w ng ntr t l f n d t l. Oft n r nt ng l t fr m r ntm k ng w r r u d for th ur . Th n r ng u of l r d thr ugh It l fr m N rth rn Eur , t rt ng in Venice n th l t 15th century. By 1540, the r v u method f r nt ng on n l (t m r ) h d b m ll but xt n t, although It l n nt nu d t use chalk-based fresco f r w ll paintings, wh h w l u ful and dur bl in damper n rth rn climates. Renaissance t hn u u d a numb r of thin almost tr n r nt l r r gl z , u u ll h ll w d t dry before th n xt was dd d, gr tl n r ng th time a painting t k. Th und r nt ng or ground beneath th was usually wh t (t ll g coated with a r m r), ll w ng l ght to reflect b k through th l r . But v n Eyck, and Robert C m n a l ttl l t r, used a w t- n-w t t hn u n l , painting a second l r n ft r th f r t. In t ll the aim w , as w th th established t hn u f t m r nd fr , t produce a m th urf wh n n tt nt n was dr wn to the brushstrokes r t xtur f the nt d urf . Am ng the rl t m t effects, u ng a raised or rough texture in th surface f th paint, r those fr m the later w rk of the V n t n nt r G v nn Bellini, r und 1500.

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