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The image shows a clipping from a newspaper, dated July 1, 1922, from Baltimore, Maryland. The article is titled "Oil in Paintings Declared to Be Egg."

Here is a detailed summary of the article:

Title:
"Oil" in Paintings Declared to Be Egg

Subheadings:

• Both White and Yolk Were Originally Used to Mix Various Pigments.
• Difference in Eggs, Too
• City Hen's Yolk Lighter, And Was Used for Faces of Young Persons.

Content:
The article discusses the use of eggs in creating paint for many old paintings. It highlights that eggs were used for mixing paint in frescoes and for hundreds of years, painters used egg yolks and whites as a binding medium for various pigments.

Key points include:

1. Historical Use of Eggs:

   • Eggs were used as a binding medium for pigments in frescoes.
   • Egg yolks and whites were mixed with water and pigments to form tempera.
   • This technique was used for both frescoes and paintings on white plaster-covered surfaces.

2. Artistic Techniques:

   • The yolk of a city hen's egg was lighter in color and used for faces of young persons, while the yolk of a country hen's egg was darker and used for older persons.
   • This distinction is noted in a manuscript from the fifteenth century.

3. Historical Context:

   • The rivalry between city and country hens in Italy during the fifteenth century is mentioned.
   • The use of eggs in painting continued until the introduction of oil as a medium, which was considered more suitable for painting the Holy Trinity than a man-made product.

4. Persistence in Russia:

   • The use of eggs in painting persisted in Russia long after the introduction of oil.
   • Egg tempera was used in the decoration of icons and frescoes, with the yolk and white of eggs being used for different effects.

5. Modern Use:

   • The article mentions that the use of egg tempera has seen a revival in modern times, with artists using it to achieve a high degree of perfection.

The article provides a historical perspective on the use of eggs in painting, highlighting the differences in egg yolks and their specific uses in art.

The image shows a newspaper clipping from the Baltimore Sun dated July 14, 1924. The headline of the article is "Oil in Paintings Declared to Be Egg."

The article discusses historical practices related to the use of eggs in painting:

1. Eggs in Paintings: Both the white and yolk of eggs were originally used to mix various pigments in paintings.

2. Differences in Eggs: The article mentions that city hens' yolks were lighter and used for faces of young people.

3. Historical Context:

   • Many paintings from the fifteenth century were not done with oil paint but with egg tempera.
   • Egg white was used as a binding medium for pigments, often forming a tempera, which was applied to surfaces like wood.
   • The distinction between using egg white and yolk was significant, with the yolk being used for brighter colors and the white for finer details.
   • The article also notes that in Italy, there was a long-standing rivalry between city and countryside artists over the use of egg whites and yolks. This rivalry diminished over time as families intermarried.

4. Other Uses:

   • The white of the egg was also used for gilding gold-leaf on panels and frames.
   • In Russia, the tradition of using egg whites was considered superior to oil paint for its natural finish, though oil paint was eventually favored due to its durability.

The clipping also includes a brief note about the Frye Museum, indicating the source of the information or the context of the article's origin.

The image shows an old, yellowed newspaper clipping titled "'OIL' IN PAINTINGS DECLARED TO BE EGG." The article, dated July 1, from an unspecified year, discusses how many paintings that appear to be oil paintings are actually made using egg, a medium that was commonly used by artists in the past. The article explains that both the white and yolk of eggs were originally used to mix various pigments. It mentions that in Boston, the Fogg Art Museum at Harvard has been studying this for twelve centuries. The text also notes that the city of Hen used lighter yolk for the faces of young persons. Additionally, the article describes the rivalry between city and country hens and how the use of egg in painting persisted in Russia much longer than in other countries. The clipping is placed on a light gray background along with an envelope, which is postmarked Baltimore, Md., July 1, 1924, and addressed to Fr. S. D. Tschopp at 416 22nd Street, New York, N.Y. The overall context suggests themes of art history and the materials used by old masters.

The image is a newspaper clipping from the "Evening Sun," Baltimore, Maryland, dated July 14, 1934. The article is titled "'Oil' in Paintings Declared to Be Egg."

Here's a detailed summary of the content:

Main Points of the Article:

Origin of Egg Use in Paintings:

• Both egg yolk and egg white were originally used to mix various pigments in painting.

Differences in Egg Components:

• The article explains that city hens' eggs had a lighter yolk and were specifically used for painting the faces of young persons.

Egg Tempera in Art:

• More than 200 pictures that passed as oil paintings were found to be created using egg tempera, according to the directors of the PomArt Museum at Harvard.
• Egg tempera was a prevalent medium in Italy during the twelfth century.
• Artists across Europe used this medium for centuries, creating works that are now identified as egg tempera paintings.

Composition and Use of Egg Tempera:

• Egg tempera consists of egg yolk mixed with fine pigments, sometimes with added laurel water.
• The white of the egg was used as a binder for gesso, a material applied to panels to prepare them for painting.

Artistic Techniques and Preferences:

• During the Renaissance, oil and varnish were introduced and favored for their glossy finish.
• Egg yolk was used for painting faces of young individuals, while the yolk from country hens was used for older subjects.
• The white of the egg was also used for gilding and holding gold leaf on panel frames.

Historical Context and Decline:

• Egg tempera was the primary medium before the introduction of oil.
• Its use declined in the fifteenth century in Italy, coinciding with the rise of oil painting techniques.
• Despite its decline in Italy, egg tempera persisted in Russia, where it was considered more suitable for icon painting.
• The practice of egg tempera painting diminished as oil painting became dominant, leading to its near-perfection by the end of the fifteenth century.

This article provides an in-depth look at the historical use of egg tempera in art, detailing its composition, applications, and eventual decline in favor of oil paints.

The image shows a vintage newspaper clipping from the Baltimore Sun, dated July 14, 1924. The article is titled "Oil" in Paintings Declared to be Egg," and it discusses the historical use of egg-based mixtures in oil paintings.

Key points from the article include:

1. Historical Use of Eggs in Paintings:

   • Many old paintings were not done with pure oil but with a mixture of oil and egg yolk.
   • This practice was common in Italy and other parts of Europe during the Renaissance and earlier periods.

2. Pigments and Binding Mediums:

   • The white of the egg was used as a binding medium for pigments, often combined with oil.
   • The yolk of the egg was used to mix colors, particularly for fresco paintings.

3. Technical Details:

   • The egg yolk was used for its binding properties, and the quality of the yolk influenced the artwork's longevity.
   • A manuscript from the fifteenth century advised using the yolk of a hen's egg for the faces of young people, as it was considered lighter than the yolk of an older hen's egg.

4. Cultural Rivalry:

   • The rivalry between city and country hens in the fifteenth century in Italy is mentioned, indicating that the quality of eggs varied based on where the hens were raised.

5. Decline in Use:

   • The use of egg tempera began to decline with the introduction of oil painting, which was considered more durable and easier to work with.
   • The article notes that the use of egg yolk in paintings persisted in Russia until the twentieth century.

6. Specific Practices:

   • Egg white was also used for gilding, holding gold leaf on panels and frames.

The clipping also includes a handwritten note on the top of the page, which appears to say "Fogg Museum" and some other details, possibly indicating the source or provenance of the article.

The image shows a newspaper clipping from the Baltimore Evening Sun, dated July 14, 1924. The article is titled "Oil" in Paintings Declared to be Egg."

The article discusses the historical use of egg in paintings, particularly the use of both egg white and yolk as binding agents and pigments in artworks. Key points include:

1. Egg as a Medium: The article states that many paintings from the fifteenth century, including those by renowned artists in Italy and Europe, were created using egg tempera, a method where pigments are mixed with egg yolk or egg white as a binder.

2. Egg Yolk and White Uses:

   • Egg white was used as a binding medium for pigments, often referred to as "tempera."
   • The yolk of the egg was used for faces of young persons, specifically noting that city hens' yolks were lighter and preferred for this purpose.

3. Historical Context:

   • There was a rivalry between city and country hens in the fifteenth century concerning the quality of their yolks.
   • The use of egg tempera persisted in Russia, where it was considered more appropriate for representing the "truth" than oil painting.

4. Egg Tempera in Different Regions:

   • In Italy, egg tempera was favored and perfected during the fifteenth century.
   • Egg tempera was also used in glass painting, with egg and varnish mixtures being applied to glass.

5. Decline and Legacy:

   • Oil painting eventually became more popular, leading to the decline of egg tempera.
   • The white of the egg was used for gilding on panels and frames.

The clipping is accompanied by a handwritten note on the envelope, which reads "Fogg Museum," suggesting that the newspaper article might have been of interest to a museum or art historian.

This image shows an old newspaper clipping placed against a plain gray background. At the top left, there's what seems to be a cataloging note or annotation on a piece of brown paper that is handwritten and reads "2 R 779 Druckman." Below this, the newspaper clipping is from "Eve. Sun Baltimore, Md.," and it is dated "JUL 1 - 1892."

The title of the newspaper article is clear and reads: "OIL" IN PAINTINGS DECLARED TO BE EGG." The article discusses the use of egg, both the white and yolk, in paintings. It states that these were originally used to mix various pigments. There's also a subheading "DIFFERENCE IN EGGS, TOO," indicating that the article may discuss variations in the use of different eggs for painting.

The article text that is visible explains that many pictures which pass as oil paintings were not done with oil at all. It mentions the Isabella Stewart Gardner Museum at Harvard University and refers to the use of egg as a mixing agent with pigments for hundreds of years in Europe. It mentions that the use of egg persisted in Russia after the introduction of oil, was associated with Trinity egg paint, and implies a comparison between city and country eggs, noting that a city hen's yolk, being lighter, was used for the faces of young people.

The visible text cuts off at points as the article continues beyond the limits of the cut-out sections shown in the photo. The article appears to be a historical discussion of painting techniques, specifically the use of egg in tempera painting, which precedes the widespread use of oil in art.

This image features an old newspaper clipping from the "Eve. Sun" in Baltimore, Maryland, dated July 14, 1922. The article is titled "'OIL' IN PAINTINGS DECLARED TO BE EGG," and discusses how both the white and yolk of eggs were originally used to mix various pigments for paintings. It highlights that early paintings were often not done with oil, contrary to common belief, and that eggs played a significant role in art historically. The article mentions a manuscript from the fifteenth century which stipulates that the yolk of city hens was lighter and used for painting the faces of young people, while the yolk of country hens was darker. The use of eggs in paintings lasted for many centuries, even after the introduction of oil, due to the unique properties it provided. The article points out that the tradition persisted in Russia, among other places, and refers to the historical competition between city and country eggs in art. The text also emphasizes that paintings using eggs were highly prized and admired, with egg-based processes employed for various art forms beyond traditional painting.

The image shows an old newspaper clipping with the headline "'OIL' IN PAINTINGS DECLARED TO BE EGG." Below the headline, it states that both the white and yolk of eggs were originally used to mix various pigments in painting. The article explains the difference in eggs, noting that the yolk of city hens was lighter and was used for the faces of young persons.

The article describes how many paintings passed off as oil paintings were actually done using egg-based mixtures rather than oil. It states that since the twelfth century, eggs were used in Italy and throughout Europe for painting. The egg white was used to replace vegetable gums as a binding medium, and white and yolk were mixed with other substances to form tempera.

The yolk alone was used in the perfection of the art, particularly for faces of young people, with city hen yolk being preferred due to its lighter color. The article also mentions the historical rivalry between city and country hens in Italy and how their descendants now unite American tourists with the art heritage. Egg white was also used for gilding to hold gold leaf on panels and frames.

Additionally, it notes that egg mixtures were often used for finishing touches on fresco paintings and glass painting, favored by Renaissance women for decorating dresses and furniture. The art of egg painting reached its peak in Italy in the fifteenth century but vanished afterward, with the fall of tempera painting described as a striking event in art history.

The clipping is from the "Eve. Sun, Baltimore, Md." dated "JUL 14 - 1924." There are some handwritten notes at the top, but they are partially unclear.

The image shows a historical newspaper clipping from the Baltimore Sun, dated July 1, 1924, discussing the use of egg in oil paintings. The article is titled "OIL" IN PAINTINGS DECLARED TO BE EGG, and it highlights the origins and significance of egg as a binding medium in various forms of art.

Key Details from the Image:

1. Headline and Subheadings:

   • The main headline reads: "OIL" IN PAINTINGS DECLARED TO BE EGG.
   • Subheadings include:
     • "Both White And Yolk Were Originally Used To Mix Various Pigments."
     • "DIFFERENCE IN EGGS, TOO."
     • "City Hen's Yolk Lighter, And Was Used For Faces Of Young Persons."

2. Content Overview:

   • The article discusses how egg was historically used as a binding medium in paintings, particularly in oil paintings, frescoes, and glass painting.
   • It explains that both the white and yolk of eggs were used to mix pigments, with the yolk being lighter and preferred for painting the faces of young people.
   • The article references historical practices in Russia, Italy, and other European countries, noting that egg was favored over oil in the Renaissance for its superior quality and durability.
   • It also mentions the perfection of egg painting in Italy during the fifteenth century, citing the example of a painter who spent 300–400 years achieving mastery.

3. Visual Elements:

   • The clipping is slightly worn, with visible creases and edges, suggesting it is an archival or historical document.
   • There is a handwritten note at the top left corner, reading "2/E Frigg Murstand", which may indicate a cataloging or filing reference.
   • The text is printed in a standard newspaper font, with clear headings and body text.

4. Historical Context:

   • The article provides insights into the evolution of painting techniques, emphasizing the role of natural materials like egg in achieving high-quality art.
   • It contrasts the use of egg with oil, highlighting the preference for egg in certain artistic traditions and its association with longevity and perfection in painting.

Summary:

The image depicts a historical newspaper article from the Baltimore Sun (July 1, 1924) that explores the use of egg as a binding medium in paintings. The article emphasizes the historical significance of egg in art, detailing how both the white and yolk were used, the preference for yolk in certain contexts, and the superiority of egg over oil in achieving high-quality, long-lasting paintings. The worn appearance of the clipping suggests it is a preserved historical document.