oleograph

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o·le·o·graph

 (ō′lē-ə-grăf′)
n.
A chromolithograph printed with oil paint on canvas in imitation of an oil painting.

o′le·og′ra·pher (-ŏg′rə-fər) n.
o′le·o·graph′ic adj.
o′le·og′ra·phy n.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

oleograph

(ˈəʊlɪəˌɡrɑːf; -ˌɡræf)
n
1. (Printing, Lithography & Bookbinding) a chromolithograph printed in oil colours to imitate the appearance of an oil painting
2. the pattern formed by a drop of oil spreading on water
oleographic adj
oleography n
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in classic literature ?
Near it was a violent oleograph of a lemon-coloured child assaulting an inflammatory butterfly.
The whole view, with the harbour jetties of white stone underlining lividly the dark front of the town to the left, and the expanding space of water to the right with jutting promontories of no particular character, had the uninspiring, glittering quality of a very fresh oleograph. Razumov turned his back on it with contempt.
Like the chromos and oleographs, the porcelains occupied an emergent liminal space between the sacred and the ex-hibitionary, often displayed in living rooms rather than in domestic shrines--in Indian versions of curiosity cabinets.
He was selling colourful oleographs, lithographic prints that were textured to resemble an oil paint, of the reigning Pope, If he visited a Roman Catholic household, he had an oleograph of the reigning pope.
Baroda based artist Rekha Rodwittiya, whose feminist spirit rings clear in her works, pays a tribute to modern- day oleographs and the female figure sans its hyper- sexual representation in art.
"We see a lot of work that are prints made to look like oil paintings – they're called oleographs. People are not always happy that's the case."
In fact, both these pictures are what is known as oleographs, a type of print that was especially popular at the end of the 19th century.
They derided Varma's and the Calcutta Art Studio's oleographs as kitsch reproductions, in part owing to the loss of the images' cult status.
The most significant difference between Irving and Tree, in artistic terms, was, according to Nash, that "Irving's productions were like oil-paintings" whereas Tree's "were like rich oleographs" (We Saw Him Act, 259-65).
Mukherjee explains: "These oleographs performed the important function of further 'refining' popular taste and producing newer orders of religious and social iconography that paved the way for a new kind of popular art, the kind which we can now see in film posters, hoardings and calendars of the twentieth century" (119).