One point the article missed is the relationship between Canvas, primer, medium and oil paint. All three are traditionally derived from the same plant: flax. For this reason, there is great chemical compatibility between them, which accounts for their longevity.
Even longer lasting is Buon fresco (the earliest form of fresco). This is essentially pigment painted into wet plaster. The paint is not a glue, rather a stain. Effectively the support and the paint are one.
Another interesting point is the difference between how light paint is applied to dark. Light paint is usually painted quite thickly, and for this reason is very good at reflecting light. This improves the upper registers of the painting. The last thing you want dark paint to do is reflect light. Thickly applied black paint takes on a very 'flat' look. An experienced oil painter would apply black paint as a very thin and 'dry' layer (dry = no or little medium). They are also likely to employ an underpainting layer of brown-red. Applied in this manner the darks have a profound depth. The end result is a profoundly wide dynamic range.
Even longer lasting is Buon fresco (the earliest form of fresco). This is essentially pigment painted into wet plaster. The paint is not a glue, rather a stain. Effectively the support and the paint are one.
Another interesting point is the difference between how light paint is applied to dark. Light paint is usually painted quite thickly, and for this reason is very good at reflecting light. This improves the upper registers of the painting. The last thing you want dark paint to do is reflect light. Thickly applied black paint takes on a very 'flat' look. An experienced oil painter would apply black paint as a very thin and 'dry' layer (dry = no or little medium). They are also likely to employ an underpainting layer of brown-red. Applied in this manner the darks have a profound depth. The end result is a profoundly wide dynamic range.