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Moderator Answer
(brian baade)
Here is the 1st response from Robert Gamblin.
So
I wanted to check that the 6 claims I am about to make in my article on
creating permanent paintings are accurate. These are the very short
summaries.
- A rigid support is better than a flexible surface
In general I think yes, though we all know that many stretched canvases age marvelously well, rigid
supports will move less than flexible whether it be in response to
changes in atmospheric moisture, movement during moving the painting
from place to place, and insures that the back of the painting is
protected.
- Alla Prima is better than layers
The universe of ways of making a painting are so varied that one can’t make this statement with confidence. e.g.
what if the alla prima paint is like so many colors from the tube
today, nearly under bound, which leads to a less flexible paint film
than one with a good amount of binder.
To
make this statement also tends to suggest that a way of making a
painting is superior to another. When what is primary is that the artist
realize his/her/they vision. In
order to do that, for some it will be an alla prima painting, and for
another it will be 40 thin layers of glaze in an alkyd medium of one
transparent color, etc. ad infinitum. I see our job as helping artists to realize their vision and not to make a painting with the fewest cracks.
- A thin layer is better than a thick layer
It depends, first, what is a thick layer? What is a thin layer? What is used to make the layer thin? A material that will make the layer more flexible, or more brittle? Does the thick layer have anything else in it?
- Use oil paint with fewer ingredients
History does seem to suggest that simpler is better.
Again
it depends, my belief is that oil colors today are much more loaded
than they were in previous periods, by definition this means that
from-the-tube
oil colors are less flexible than in previous periods, BUT an enormous
amount of painting mediums are made, purchased and used today, this
addition of medium to the tube color most likely puts the oil/pigment
ratio of what goes on the surface today similar to all other periods.
Paint
has to come off the brush in just the way the artist wants, color is
either made to do that specifically for the artist or as today, the
artist adjusts the viscosity themselves.
- Varnish after 6-12 months
Not
a bad idea, but if the painting is going out the door a few weeks after
it has dried, and the artist will never see the painting again, I think
one can varnish with the new synthetic resin varnishes we have today
without fear….that means varnish thinly, as one should anyway.
Notes by Robert Gamblin
Otis, Oregon 12/18/21