Courtney, thank you for sharing your insights on this topic.

The frustration with waiting for the painting to dry is eased by having three or four canvases going at once.

Nice piece.

I had the same problems with oils. Also oils require considerable knowledge of chemistry since certain colors cannot combined or touch each other on the canvas. They will deteriorate  and chip off after a few years. Maxfield Parrish was a very accomplished technician and his work is coming apart.

I decided a number of years ago to switch to acrylics. I can obtain the same jewel like colors and contrast with opaque areas. The drying time is very very short. Acrylics can be finished in oil glazing, if desired, and or touched up with oil color you may feel not available with acrylic.

Most people cannot tell the difference from oil when acrylics are used in this manner.

I am not trying to convert anyone to acrylics. This is just a good alternative for some people.

Nice examples. I have found a modern alternative to reduce waiting time. I glaze or paint indirectly with acrylics. Interactive Acrylics to be specific. They stay open as long as I need them to as I rework the current layer. Once I am satisfied with that, I commit the layer to posterity by sealing it with a (non interactive) medium. I used a matte medium to keep the tooth viable for the next layer.

Some of my paintings have 30 or more "layers" to them. I can accomplish a decent underpainting all the way to a completed work in a fraction of the time. I used to wait days and weeks for oil layers to dry. Using a hair dryer I can have the painting cured in under 3 minutes and ready for the next layer.

I often finish off in oils.... more often, I finish in Alkyds. (I switch to oils mostly to color correct any shifting or to smooth out a gradation in a sky perhaps) Alkyds will dry from 4 hours to over night. Then I can glaze more if I like. (but only in oil based paints... no going back to acrylics at this point in the painting)

When teaching a workshop in my technique I find the hardest hurdle to overcome for most painters is using thinner layers of paint.

I used to paint mainly in acrylic and relied heavily on glazing as part of my technique.  I now paint in oil primarily and glazing is still a large part of my process, and it is much slower.  Some painters like to use alkyd mediums to speed up the drying time.  Not only can the medium be added to the paint under layers and be dry over night, but it can also be used for glazing, as there are several types and consistencies of medium available.  I don't care as much for the alkyd mediums as I think it imparts a more "plastic" appearance to the paint layer.  So, I try to be patient to get the effects I desire.  Sometimes, there is just no other way to do it.

Yikes--right now I'm just happy to be able to oil paint in any manner that ends up in a fairly decent result.  I'm using water soluble oils, so there are only two water soluble oil painting mediums that I know of, and I'm not sure how to manipulate them to do 'glazing' as described above.  I guess I'll have to go to a museum and hunt down a few paintings that appear to be done by glazing and look more closely at them.  I have to confess, however, that I prefer a surface with visible brushmarks.

Maxfield Parish usually had a number of paintings in the works at the same time because of the waiting time between glazes. As for his work "not lasting" or "coming apart", Parish was, for the most part, painting for reproduction. In fact in some of his later work, the glazes were in the actual colors and sequence of four color reproduction process.

Rockwell also got into glazing, particularly in some of his later Post work. Rockwell has inferred that he did not expect his work to last in perfect shape over time. There were too many protective layers of varnish applied between phases of the painting process. I can't help but think that Parish may have done something similar.

Here's a personal footnote:

Parish is one of my favorite artist / illustrators. He was one of a kind and had a wonderful sense of design. However, every time I see "The Lantern Bearers" I want to move the lantern at the far lower right down slightly. Maybe that is some flaw in my design sense.