“Well, I have a very simple method of painting. It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method. It's very simple... Yes, linseed oil. I used to use poppy oil, but I have heard that poppy oil is given to cracking pigment too, so I use it no longer... I find linseed oil and white lead the most satisfactory mediums.”

— Edward Hopper

1941 - 1967
Source: 'Oral history interview with Edward Hopper' (1959, June 17), conducted by John Morse; 'Archives of American Art', Smithsonian Institution

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Edward Hopper 48

prominent American realist painter and printmaker 1882–1967

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“I'm able to paint so nice and thick with those big splodges that stay upright because I mix my own paint. I use the formula that the seventeenth-century painters used and I've added one or two things myself. A very important element is stand oil. I once got hold of a whole barrel full and I'm still using it. There are pots of it in all my studios, in New York, in Connecticut, in Monaco, and in Tuscany. [the oil had been found when an old paint shop closed down, in a] stock that had been there since the seventeenth century... I mix my oil paint with it, and I throw in a lot of eggs and some concentrated turpentine. It's as thick as homemade mayonnaise. When it dries it is as tough and hard as rubber.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote from an interview in 'Elsevier', 22 December, 1990; translated and quoted by Frank van der Ploeg, in 'The Low Countries'. Jaargang 12 (2004) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

“I think we ought to have more oil. We ought to develop more sources of oil so that we can increase our supply. But the last thing I want to do is suck it all dry as quickly as we can. I want to use less of it.”

Mitt Romney (1947) American businessman and politician

Interview on Hardball with Chris Matthews, December 2005.
2003–2007 Governor of Massachusetts

“I said it to you once, had we taken the oil -- and we should have taken the oil -- ISIS would not have been able to form either, because the oil was their primary source of income. And now they have the oil all over the place, including the oil -- a lot of the oil in Libya, which was another one of her disasters.”

Donald J. Trump (1946) 45th President of the United States of America

2010s, 2016, September, First presidential debate (September 26, 2016)

“.. can you [contemporary painters] ever get close, even vaguely, to the solidity, the transparency, the lyric strength of colour, to the clarity, the mystery, the emotion of any of the paintings of Fra Angelico, Piero della Francesca, Botticelli, Dürer, Holbein or of young Raphael? Friends, have you ever realized that with the oil colours used today this is absolutely impossible?... In the museums of Europe I have observed the work of the Flemish painters at length – those earlier, later as well as contemporary to the [brothers] Van Eycks – and I am convinced that the above mentioned brothers were not the discoverers of oil paint in its true sense, as is held today, but that what they did was introduce oil in emulsion with other substances, especially live and fossil resins, into so-called oil tempera emulsion, which was already known in the Flanders, to enable them through the use of veiling to give a greater finish, cleanliness and strength of colour to their painting.
'These oils which are their tempera' said Vasari, speaking of the Flemish [painters] in his Life of Antonello; and without doubt he was alluding to Flemish oil tempera emulsion, but it is sure, absolutely sure, that.... we are dealing with.... a tempera based mixture (egg, glue, resin, tempera etc) in which oil was only used as a means of unity and for the finish of the painting.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's text 'Pro tempera oratio', c. 1920; from 'PRO TEMPERA ORATIO' http://www.fondazionedechirico.org/wp-content/uploads/475-480Metafisica5_6.pdf, p. 475
1920s and later

“I have another painting finished, a view near Rotterdam, and then another in process, and very far along. I made them from nature, that is to say I made watercolors [in open air] after which I made my [oil]-paintings.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

In a letter to his Dutch friend Eugène Smits, 22 Nov. 1856; as quoted in Master Drawings from the Yale University Art Gallery, by Suzanne Boorsch, John Marciari; Yale University. Art Gallery, p. 246 - note 7

“The US is sort of the flag-bearer for capitalism and free markets, the US continues to be a very important part of a global industry that is interconnected, that is dealing with a fungible commodity which is crude oil. So having equalisation through free trade is very healthy for oil.”

Khalid A. Al-Falih (1960) CEO of Saudi Aramco

Interview with Financial Times (18 November 2016)

“We used [oil] […] as if there was no tomorrow. Now there may not be one. That's how special oil has been.”

James Howard Kunstler book The Long Emergency

Source: The Long Emergency (2005), Chapter 2, p. 31.

“Beforehand I don't make any drawing of the object or objects which I want to paint on the canvas or panel.... but I start directly to situate the designed plan on the canvas - After having thoroughly sketched and thought over my composition, especially the arrangement of light and dark, I start to paint it broadly with oil-paint and try as much as possible to achieve the hue or the colouring, in which I want to see my landscape.... when it is definitely completed.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik maak vooraf geene tekeningen van het voorwerp of de voorwerpen, die ik op het doek of paneel wil schilderen.. ..maar begin dadelijk het ontworpen plan op het doek te plaatsen – Na mijne compositie eerst behoorlijk geschetst en beredeneerd te hebben, voornamelijk de schikking van licht en donker, begin ik dezelve met olieverw breed te schilderen, zoveel trachtende de tint of het coloriet er in te brengen, in welke ik mijn landschap.. ..wil gezien hebben.. ..als het geheel afgeschilderd is.
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 98-99

“After earning the PhD degree and acquiring some relatively extensive experience in digital computers… It was time to leave the University. The result of an extensive search for the right job was a family move to Arlington Heights, Illinois, where it was a short commute to the Research Laboratories of the Pure Oil Company at Crystal Lake. I was given the title of Mathematical and Computer Consultant. The Labs were set in a beautiful campus, the professional personnel were eager to learn what I had to teach and to include me in many interesting projects where my knowledge and skills could be put to good use. I was encouraged to initiate my own program of research. I went to work with enthusiasm.
The corporate headquarters of Pure Oil were located in down town Chicago. Pure Oil had been trying to install an IBM 705 computer system for all their accounting needs including calculation of all data necessary for the management of exploration, drilling, refining and distribution of oil products and even royalties to shareholders in oil wells. Typical for those early days, the programming team was in deep difficulties and needed help; they lacked adequate resources and suitable training. The Executive Vice President of Pure Oil, when he heard that there was a computer expert already on the payroll at the Crystal Lake lab, ended our family blissful dream and I was reassigned to the down town office.”

A. Wayne Wymore (1927–2011) American mathematician

Systems Movement: Autobiographical Retrospectives (2004)

“Oh will you come with us
To find the song of the oil and the brush?”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, Aerial (2005), A Sky of Honey (Disc 2)

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Edward Hopper 48

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