Exploring the Secrets of Painting on Copper: Techniques, Materials, and Best Practices

Explore the world of painting on copper with insights into materials, techniques, and preservation from studying historical paintings.

Painting on copper, a practice primarily seen from the 16th to the 18th centuries, presents a fascinating intersection of art and material science. Recent research by Daniel Vega, Isabel Pombo Cardoso, and Leslie Carlyle offers a detailed exploration of the materials and techniques used in these artworks. This study sheds light on historical practices and provides valuable information for contemporary artists interested in this unique medium.

Copper as a painting surface offers unique benefits, including durability and a smooth texture, which were highly valued by artists from the Renaissance onwards. However, the methods and materials used to prepare copper for painting are crucial to the artwork’s longevity and overall success. This article reviews the findings from a recent study focusing on the preparatory layers of copper paintings, offering artists practical insights and best practices derived from historical and analytical research.

There are at least 19 literary sources with information on various aspects of painting on copper: Secondary literature:

• A – Bazzi, M., Notizie della Pittura su Metallo, Luigi Alfieri, Milano (1939).
• B – Leegenhoek, I. ‘Les tableaux peints sur cuivre. Origine, constitution, conservation’, informe, Institut Française de Restauration des OEuvres d’Art, Paris (1986). 
• C – Spring, M. ‘A copy of the painting “Pan and Syrinx in Classical Landscape” by Martin Ryckaert from the Fitzwilliam Museum’, informe, Hamilton Kerr Institute, Cambridge (1991). 
• D – Horovitz, I., ‘The materials and techniques of European paintings on copper supports’ in Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575-1775. Phoenix Art Museum, ed. M. Komanecky, Oxford University Press, New York, (1999) 63-92. 
• E – Schmid, A. ‘Silbrige metallüberzüge auf kupferbildträgern. untersuchungen zur materialität, applikationstechnik undfunktion anhand ausgewählter beispiele mit fokus auf adam elsheimers Frankfurter kreuzaltar’, tesina de master, Berner Fachnochschule (2013). 
• F – Stols-Witlox, M.J.N. ‘Historical recipes for preparatory layers for oil paintings in manuals, manuscripts and handbooks in North West Europe, 1550-1900: analysis and reconstructions’, tesis doctoral, Universiteit van Amsterdam (2014). 

The Historical Context of Paintings on Copper

Copper plates began to be used as supports for easel paintings in the 16th century. This practice originated in Italy and quickly spread across Europe, particularly among Flemish artists. The technique’s popularity persisted into the 17th century and beyond, with examples found even in the 20th century. Copper’s rigid and non-absorbent surface allowed for fine detailing and vivid color retention, making it an attractive choice for artists.

Materials Used in Copper Paintings

The Copper Support

Artists historically sourced their copper plates from coppersmiths, ensuring the metal was well-polished and ready for use. Analytical studies have confirmed that the copper used in these artworks is of high purity, often exceeding 98%. The preparation of the copper surface involved thorough polishing and sometimes the application of an abrasive to enhance the adhesion of subsequent layers.

The Preparatory Layer

The preparatory layer ensures the paint adheres well to the copper surface. Historical texts and modern analyses reveal that this layer typically consisted of white lead (Spanish: albayalde) and other pigments bound in oil. The exact composition and application techniques varied, but standard practices included applying multiple thin layers and smoothing the surface with tools or even by hand.