Painting on Copper: Techniques and History

Rembrandt Harmensz van Rijn (Dutch, 1606–1669) Rembrandt Laughing. Oil on copper, about 1628. 22.2 × 17.1 cm (8 3/4 × 6 3/4 in.). J. Paul; Getty Museum, Museum East Pavilion, Gallery E205.

Historical Use of Copper

While we do not know why oil painting on copper enjoyed popularity from the 15th to the 18th centuries, we may be able to provide some reasons based on historical evidence linked to artistic traditions in both the cultural and economic contexts of the period.

Concerning artistic tradition, paintings on copper may have arisen out of the practice of applying transparent oil glazes to metal sheets [1,2]. Still, the progress of enameling on copper or bronze in the fifteenth century may have influenced its development due to its widespread popularity [2].

The earliest literary evidence of oil glazes on metal is found in the eighth-century Lucca Manuscript, where a recipe describes how to make a glaze of oil and resin to be applied over tin foil in a technique known as ‘Pictura translucida.’ These glazes were colored yellow to give tin the appearance of gold leaf [1,2]—a kind of imitation gold. These stains were also used on different metals to imitate gilding, as recorded in later sources [2].

With the invention of printing, engraving, and etching became widely popular in Europe during the fifteenth and sixteenth centuries. This meant copper plates were readily available to painters, some of whom were also etchers and engravers [1].

Economic factors may have also led to the popularity of copper as a painting support. Readily available copper plates meant affordable prices to artists [3]. Jørgen Wadum’s study of Antwerp coppersmiths and the relative costs of panels, artists’ materials, and paintings on copper revealed that prices for copper plates were roughly similar to those for oak panels of comparable size [4].

An ‘appreciation for the precious and the remarkable, the rare and unusual, the refined and exquisite’ developed among wealthy patrons in sixteenth-century Europe, reflected in cabinets of curiosities. This led to the proliferation of different supports for painting, such as ‘alabaster, amethyst, lapis lazuli, marble, quartz, slate…’ and, of course, metal. Logically, paintings on copper would also be seen as ‘rare and precious’ objects in art collections of that period [3].

The gradual waning of oil paintings on copper from the latter half of the seventeenth century in Italy and the Netherlands is even less understood than their appearance. On the other hand, countries such as France and Spain continued to admire this kind of artwork throughout the eighteenth century, and many of their artists chose copper to support their paintings [3].

The Attraction of Copper Supports

Copper supports were attractive to artists for both practical and aesthetic reasons. Paintings on copper do not suffer from the same types of degradation as paintings on canvas or wood do. They are not susceptible to biological degradation, such as mold. Supports made of metal do not tear, puncture, or crack, as do canvas and wood supports. Since copper supports are rigid, they do not respond significantly to environmental variations in temperature and relative humidity. In normal indoor conditions, copper supports exhibit only minor dimensional changes due to temperature. The dimensional changes of copper are also similar to those of oil paint. As the temperature increases or decreases, both expand and contract together. These properties of copper account for the surprisingly good state of preservation that some paintings exhibit today [3].

The portability of copper supports, usually relatively small, also allowed artists to collaborate on the same painting even when residing in two different geographical locations [3].

Preparing copper plates for oil paint is easy, usually consisting of a single priming layer. The smooth surfaces also provide an ideal substrate for rendering fine detail, which was especially popular in the style of paintings of that period. The non-absorbent surface of metal allows the application of thin paint layers that often do not ‘sink in,’ a problem that persists among oil painters to this day.

The Luminous Qualities of Copper

Perhaps the most important reason painters use copper as a support for oil painting is the gleam of its metallic surface. The combination of copper’s smooth, non-absorbent surface, which allows for the application of thin paint layers, results in paintings with a unique, luminous appearance that many describe as ‘jewel-like’ [3]. This effect is further heightened by the way paint sits atop the copper rather than being absorbed, resulting in paint layers that appear richer in oil or medium. This quality often gives copper paintings more saturated colors, a wider range of values, and an unmistakable “inner glow.”

Artists sometimes leave portions of the copper plate exposed within the composition, allowing the raw metal to peek through unpainted passages. This produces a distinctive glimmer—a warm, mid-tone metallic accent that shifts subtly with changing light and viewing angles, adding to the painting’s dynamic and precious character.

Painting Experience and Surface Behavior

Painting on copper differs notably from working on canvas or board. While one might assume the metal’s smoothness would create a slick sensation under the brush, copper, when prepared for painting, actually offers a surprising amount of grip. Brushes tend to drag and “chatter” across the surface, influencing both technique and the choice of brush. For many artists, this tactile quality alters their approach, encouraging more deliberate, precise brushwork.

To mitigate the ‘grippy’ nature of copper, some painters apply a thin layer of transparent, thixotropic gel medium across the plate before painting. This clear “couch” not only provides a smoother working surface but also extends the open time of the paint, facilitating seamless blending and transitions while sealing the copper against oxidation. The result is a unified, durable paint layer that enhances both the working experience and the archival quality of the finished painting.

Choosing the Right Copper Plate

When selecting copper plates for oil painting, artists typically look for plates that are smooth and free from dents, bends, or scratches—qualities essential for achieving those fine details and luminous finishes that copper supports are known for. Plates supplied for printmaking, available at many art and metal suppliers, are often ideal in both texture and quality.

A thickness of 16 or 18 gauge (roughly 1.3 mm to 1 mm) is recommended, as this provides adequate rigidity and durability for painting, while remaining manageable in weight. Thinner sheets may be prone to warping or bending, especially if handled frequently, while plates much thicker than this can become unnecessarily heavy.

Because copper can be a significant investment, it’s worth comparing prices and quality from different suppliers—specialty printmaking outlets, jewelry supply stores, and metal vendors are all potential sources. Exploring several options ensures you find the best material for your needs before committing to a larger purchase.

Preparation of Copper for Painting

Although preparing copper plates for oil painting is straightforward, it requires special attention to ensure paint layers achieve good adhesion. Historical instructions for preparing copper began with roughening the copper surface to ‘provide a tooth for the application of the paint’ [2]. This mechanical action removes any corrosion present from the surface, such as black or brown cuprite (CuO₂), and provides a greater surface area for effectively bonding paint to the metal. Historical treatises and manuscripts offer several recommendations, including rubbing the surface with wood ashes and pumice stone [5].

The Role of Garlic Juice in Surface Preparation

The same treatises recommend rubbing a garlic clove onto the copper surface or coating it with strained garlic juice [1]. The tacky coating of garlic juice can provide some ‘tooth’ for the paint, but also gives the artist better control of the paint by providing drag for brush application. Traditionally, artists would slice a clove of raw garlic in half and rub it directly onto the copper in small circular motions. This is less about creating a visible layer and more about gently wiping the surface—think of it as a subtle, dampening treatment. As the garlic dries, slicing into the clove anew exposes fresh juice, ensuring consistent coverage. The mild acid in garlic juice was valued not only for its effect on surface tension—helping paint or ground adhere rather than bead up—but also for its gentle etching of the copper, which subtly changes the color and sheen of the metal. This effect is subtle, so it’s best to observe carefully and avoid retracing areas that have already been coated.

This garlic juice application goes beyond simply providing a mechanical key for the paint: it helps create a chemical bond between the copper and the lead in the primer or paint (as well as with other heavy metals like cobalt and cadmium). This complements the mechanical bond achieved through sanding and cleaning, together resulting in a strong and lasting connection between the paint and its copper support.

Alternative Methods and Materials

Some sources recommended applying turpentine instead of garlic to the copper plate to improve the wettability of the slippery copper surface, thereby enhancing the adhesion of the oil paint.

A few historical sources also mention applying a layer of linseed oil to the copper surface. This may have been a practice borrowed from etchers because it was thought to improve the application of the preparation layers.

A Note on Direct Painting: If you choose to paint directly onto the copper plate without a traditional primer, ensure that no area of the plate remains exposed to air—every part should be covered with paint, medium, or varnish. Unprotected copper will eventually oxidize and change color in those areas, potentially affecting the appearance and longevity of your work.

Modern Surface Preparation

In addition to these traditional methods, thoroughly sanding the copper surface with medium to fine-grit sandpaper is recommended. This not only removes any oxidation but also modifies the naturally smooth copper surface, creating enough tooth for the first layers of oil paint to achieve a strong mechanical bond. It is essential to wear clean gloves during this process to prevent transferring oils from your hands to the sanded copper, as even small amounts of oil can interfere with adhesion.

After sanding, carefully clean the plate with denatured or isopropyl alcohol to remove all dust and grease. Both contaminants can prevent proper adhesion of paint, and if left behind, may eventually cause the paint layers to delaminate.

Historical and Alternative Surface Treatments

The same treatises recommend rubbing a garlic clove onto the copper surface or coating it with strained garlic juice [1]. The tacky coating of garlic juice can provide some ‘tooth’ for the paint, but also gives the artist better control of the paint by providing drag for brush application.

Some sources recommended applying turpentine instead of garlic to the copper plate to improve the wettability of the slippery copper surface, thereby enhancing the adhesion of the oil paint.

A few historical sources also mention applying a layer of linseed oil to the copper surface. This may have been a practice borrowed from etchers because it was thought to improve the application of the preparation layers.

The Painting Experience

Artists often found that painting on copper offered a very different experience from working on canvas or panel. While copper’s surface may appear slick, once prepared, it offers a subtle grip to the brush, which influences the artist’s technique and brush selection. The non-absorbent plate allows oil paint to remain rich and workable on the surface, enabling deliberate and precise brushwork, as well as longer open working times in the initial layers. Many artists embraced this quality, exploiting the copper’s warmth and reflective qualities to create paintings with an “inner glow” and a striking clarity of detail.

Copper’s versatility also meant it could accommodate a variety of painting approaches, from thin glazes to thick impastos, and from meticulous realism to minimalistic elegance. The ability to experiment with broken color, allowing flashes of copper to shine through, added another layer of vibrancy and visual interest to the finished work.

In sum, the combination of copper’s physical stability, luminous character, and unique handling properties made it a compelling support for artists seeking both beauty and longevity in their paintings.

Priming Copper for Painting

Researchers have found a priming layer on most oil paintings on copper studied. These primings contained lead white, white ash, black carbon, umber, yellow and red ocher, and vermilion ground in oil. Historical sources mention that the grounds were to be applied by the palm of the hand, with the fingertips, or by brushing, with the first method being the most frequently referred to in the sources [5, 6].

After the initial surface preparation—commonly involving garlic juice or turpentine as previously discussed—it was (and still is) possible to proceed directly to painting, or to apply a priming layer. If a priming layer was chosen, a traditional approach involved a very thin, even application of a lead-based ground, often in two coats. This lead white ground provided a smooth, opaque surface, favored for its excellent adhesion and durability. Artists sometimes further refine the surface by carefully wet-sanding the dry primer with linseed oil and fine-grit sandpaper to achieve an even silkier finish.

For those who preferred to paint directly onto the garlic-prepared copper, some historical sources recommended using lead white oil paint when mixing colors, as the copper surface forms a stronger chemical bond with lead-based pigments than with titanium white, further enhancing the longevity of the painting. Regardless of the method, it was considered essential to ensure that no areas of exposed copper remained unpainted or uncovered by medium or varnish, as any exposed metal would eventually oxidize and discolor over time.

After the garlic has dried on the copper plate, artists faced a choice: some preferred to begin painting directly onto the garlic-coated surface, taking advantage of its natural tack and subtle texture. However, many historical and modern practitioners opted to apply a thin priming layer, often using lead white ground to create a smooth, opaque surface. This priming step not only enhanced the paint's luminosity but also improved its adhesion and long-term durability.

Traditionally, if a primer was used, two coats of very thinly applied lead-based primer were recommended, with the goal of keeping the layers as smooth and thin as possible. Once dry, the surface can be carefully wet-sanded with linseed oil and fine-grit sandpaper to achieve an even finer finish—an approach valued for its discipline and attention to detail.

It is worth noting that if the artist chose to forgo a priming layer, historical advice suggested using lead white oil paint when mixing colors, as the lead forms a strong chemical bond with the etched copper, contributing to the longevity of the painting, something that titanium white does not achieve. While this may seem a meticulous distinction, many artists have long erred on the side of thoroughness, believing that these careful preparations ultimately best serve the permanence and brilliance of their work.

Overcoming the “Grippy” Surface: Modern Mediums for Copper

Despite its many advantages, painting directly on prepared copper can introduce a slightly “grippy” or resistant surface. Fortunately, there are simple solutions that artists use to create a more inviting ground for brushwork. One approach involves applying a thin, transparent gel medium, based on linseed oil, such as a thixotropic gel, to the surface of the copper plate. These gel mediums are specifically designed to offer smooth, extended working time and to imitate the effect of painting into a “couch,” where the paint glides across the surface rather than catching or dragging.

To use this technique, artists gently rub a small amount of the gel medium across the entire copper plate, ensuring an even and thin layer. The plate can be left to dry and later buffed to form a subtle, clear ground, or painters may opt to begin working directly into the fresh gel. As the oil colors merge with the gel, this method not only offers a pleasurable painting experience with increased open time, but it also helps ensure a consistent and sealed paint layer, protecting the copper from oxidation.

These modern gel mediums provide a practical solution for artists who appreciate copper’s luminous qualities but wish to avoid challenges associated with its naturally smooth surface.

Lead White vs. Titanium White: Choosing Your White Pigment

When selecting a white pigment for paintings on copper, the choice between lead white and titanium white requires thoughtful consideration. Lead white has traditionally been favored for copper supports, not merely due to historical precedence, but for its unique properties. The chemistry at play here is intriguing—lead white forms a stronger bond with the copper surface, especially when the plate has been etched or carefully prepared. This chemical affinity can help improve the long-term adhesion and stability of the painted layer.

Titanium white, on the other hand, lacks the ability to form a secure bond with copper. While still an effective pigment on many supports, paintings on copper may benefit more from the tried-and-true performance of lead white, both as a primer and when mixing colors.

For those who choose to work without a priming layer and paint directly onto a garlic-rubbed copper surface, opting for lead white paint can provide an extra measure of durability. While this distinction might seem subtle or even overly particular, a rigorous approach to preparation can make a difference in the preservation of the final work. In this way, erring on the side of traditional materials—when safe to do so—often pays dividends for artists concerned with longevity and craft.

Backing Materials: Protecting Against Moisture

When using support materials like MDF or other substrates that are prone to absorbing atmospheric moisture, it is crucial to seal them properly before use. Exposure to humidity can result in warping, expansion, or the migration of stains from the backing into the paint layers—phenomena collectively known as substrate-induced discoloration (SID). This type of deterioration can compromise both the structural integrity and visual appearance of the artwork over time.

To mitigate these risks, apply two or three coats of a high-quality polyurethane outdoor sealer, such as Minwax Polyurethane or Varathane Spar Urethane, ensuring all sides and edges are thoroughly covered. For inert materials like aluminum or expanded polyvinyl chloride (PVC), which are impervious to moisture, additional sealing is generally unnecessary. Taking these precautions helps to safeguard your painting against environmental fluctuations, ensuring its longevity and preserving its original vibrancy.

Mounting Copper Plates: Ensuring Stability and Longevity

When working with copper plates, one critical step often overlooked is attaching the plate to a sturdy backing. Copper, while prized for its luminous finish and durability, is also relatively soft and thin in the forms available to artists. This softness makes it susceptible to bending, denting, or even scratching—any of which could spell disaster for a finished painting, potentially causing unsightly deformations or even long-term damage to the delicate paint layers.

To counter these risks, it is essential to mount your copper sheet on a rigid, supportive substrate. This extra layer of support helps the plate resist flexing or warping as it is handled, transported, or framed. The backing should be robust but as lightweight as possible, since copper’s inherent weight can already be significant.

Artists have successfully utilized several materials for this purpose, including medium-density fiberboard (MDF), lightweight aluminum composite material (ACM) panels, and expanded polyvinyl chloride (PVC) sheets. Choosing the right substrate ultimately depends on your specific requirements for weight, rigidity, and compatibility with framing systems.

Such preventative measures provide not only added protection but also ensure that your painting on copper will remain in excellent condition for generations to come.

Recommended Adhesives for Backing Copper Plates

When attaching a copper plate to a backing, selecting the appropriate adhesive is key to ensuring both stability and longevity. Conservators and artists often prefer a reversible glue, such as Rublev Colours Mounting Adhesive, which allows for potential future removal or treatment. For a more permanent bond, a polyurethane adhesive, such as Gorilla Glue, is commonly used. The choice largely depends on whether later separation of the support might become necessary, with reversible options offering flexibility for conservation, and permanent adhesives providing robust, lasting adhesion.

Preparing Copper and Its Backing for Adhesion

To ensure your copper plate remains secure and undamaged during its lifetime as a painting support, it is advisable to mount it onto a rigid backing. Due to the soft nature and relative thinness of most copper sheets used in painting, they are susceptible to dents, bends, and other distortions, any of which could compromise both the stability and appearance of the finished artwork.

For the backing, select a sturdy yet lightweight material compatible with your intended method of display. Common choices include medium-density fiberboard (MDF), aluminum composite material (ACM), or expanded polyvinyl chloride (PVC) sheets. The key is to choose a material that resists flexing and offers reliable rigidity.

Proper preparation before gluing is critical for strong adhesion:

• Surface Preparation: Begin by sanding and lightly scoring the reverse side of the copper plate. This increases the surface area and provides a ‘tooth’ for the adhesive to grip. Apply the same treatment to the front face of the backing material.
• Cleaning: Carefully wipe both prepared surfaces with a clean cloth dampened in denatured alcohol to remove dust, fingerprints, and any traces of oil. This step ensures no contaminants interfere with the bond.
• Adhesion: Once both surfaces are prepped and clean, you may apply a suitable adhesive—either reversible or permanent, depending on your needs.

This meticulous preparation will help the copper and its backing form a reliable, lasting foundation for your painting layers.

Bibliography

1. Isabel Horovitz. 1999. “The materials and techniques of European paintings on copper supports”. In: M. Komanecky, ed. Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575–1775. Phoenix Art Museum. New York: Oxford University Press, pp. 63–92.

2. J.A. van de Graaf. 1976. “Development of Oil Paint and the Use of Metal Plates as a Support”. In: N. S. Bromelle & P. Smith, eds. Conservation and Restoration of Pictorial Art. London: Butterworth-Heinemann Limited, pp. 48–51.

3. E. Peters Bowron 1999. “A brief history of European oil paintings on copper, 1560–1775”. In: M. Komanecky, ed. Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575–1775. Phoenix Art Museum. New York: Oxford University Press, pp. 9–30.

4. Jørgen Wadum. 1999. “Antwerp Copper Plates”. In: M. Komanecky, ed. Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575–1775. Phoenix Art Museum. New York: Oxford University Press, pp. 93–116.

5. Isabel Horovitz. 1986. “Paintings on copper supports: techniques, deterioration, and conservation”. In The Conservator, 10: 44–8.

6. D. Vega. 2015. Study of the Ground Layer in Oil Paintings on Copper. Student’s project supervised by Dr. Leslie Carlyle and co-supervised by Dr. Isabel Pombo, DCR, FCT-UNL.

Art Materials Advisor: Painting on Copper

Why paint on copper? What are the advantages? How do you prepare copper for painting? Are there examples of paintings on copper? All these questions are answered by Artefex founders George O'Hanlon, Anton O'Hanlon, and Tatiana Zaytseva in this Art Materials Advisor live session.

Where to Purchase Copper Plates for Painting

Artists seeking copper plates for painting typically turn to printmaking supply stores, which reliably carry plates in various thicknesses and dimensions. These suppliers offer copper that is smooth, untarnished, and free from defects such as scratches or bends. Copper is, admittedly, an investment, so it’s wise to compare vendors—sources such as Artefex, Blick Art Materials, McMaster-Carr, and Metalliferous often feature extensive selections.

When selecting copper for oil painting, opt for plates in the 16 or 18-gauge range. These are sufficiently sturdy yet easy to handle—qualities favored by both printmakers and painters alike. Shopping in person, if possible, lets you examine the metal for flatness and cleanliness, but reputable online suppliers are also a strong option for those outside metropolitan areas.

As always, take the time to research the best price and quality before committing to a bulk purchase.