The Legacy of Distilled Turpentine in Painting

The discovery and use of distilled turpentine in painting predates many historical assumptions about its availability and use. Contrary to the traditional view that distillation techniques became widespread only in the 16th century, evidence now suggests that turpentine was utilized much earlier.

This article summarizes key insights from Alan Phenix’s work, Some Instances in the History of Distilled Oil of Turpentine, the Disappearing Painters’ Material. Phenix challenges the traditional assumption that distilled turpentine became prevalent only in the 16th century, presenting compelling evidence of its earlier use. This revelation reshapes our understanding of historical painting techniques, highlighting a previously unrecognized level of sophistication in the handling of materials by medieval and Renaissance artists.

Early Evidence of Turpentine Usage

The narrative that the distillation of volatile oils such as turpentine emerged only with the advancements of the 16th century is increasingly contested. Historical texts, such as Jean de Saint-Amand’s commentary on the Antidotarium Nicolai, reference oil of turpentine, suggesting its availability as early as the 13th century. This challenges the prevailing view that distilled turpentine was unknown to medieval European painters.

For instance, the manuscript Brussels MS 15624-15641, dating back to the mid-14th century, contains explicit mentions of oil of turpentine being prepared via sublimation. Similarly, the inventories from apothecaries in Marseille and Aix-en-Provence in the early 15th-century list distilled turpentine alongside other medicinal and artistic materials. These records demonstrate a consistent, though sparse, trade and application of turpentine well before the time of Brunschwig’s widely cited distillation treatises of the early 1500s.

Implications for Art Historical Interpretation

The volatility of turpentine means that it evaporates completely over time, leaving no detectable residue in ancient paint layers. This has historically limited the ability to confirm its use through modern analytical techniques. However, understanding its early presence reshapes our interpretation of painting techniques.

The masterful craftsmanship evident in works from the 14th and 15th centuries—particularly the smooth, translucent layers characteristic of Northern European oil painting—might have been facilitated by the controlled use of turpentine. The smoother transitions and delicate glazes achieved by artists like Jan van Eyck could have been aided by these early solvents, which made oil paint more malleable and quicker to dry.