A large part of learning the nature of one's paints has less to do with readily apparent chromatic differences (color, undertone, tinting strength, etc.) than how different pigments can be used in the construction of a sound painting.
Rates of drying, oil absorptive qualities, handling characteristics and relative transparency and opacity then become issues of importance which refines the painter's choice of materials in terms of their technical qualities and a chosen method of procedure.
So a given pigment is toxic? Certainly it's necessary to know this, and handle it accordingly. Portraitists in particular engage in placing small strokes of paint with an accuracy within a few thousandths of an inch to render "likeness". Most adults are quite capable of sitting to a formal dinner without getting food on their hands, faces, clothing, or on the person next to them. To be "safe" at the easel, don't eat the paint, but apply the same sensibilities you use at table, and don't get it all over you.
If the requirements of one's environment prohibit the casual and careless proximity of materials harmful to small children and pets when no semblance of ordered use or restrictions of care are in place, this precludes using all materials and paints associated with oil painting. Ingesting or wallowing in any of them will certainly cause injury.
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