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Question asked 2018-10-13 16:00:03 ...
Most recent comment 2018-10-16 07:53:35
Several years ago, when testing isolators for egg tempera, someone (a materials expert) recommended Golden's GAC 500 and Acrylic Gel Medium as isolators. Being water-based, I was skeptical they could be applied without disturbing a relatively new egg tempera painting, but in fact they went on fine and worked well. I haven't used them since but suggest them to students as possible isolators (preferably with more testing).
Recently another materials expert told me that using GAC 500 as an isolator could prove problematic as it would create a completely unbreathable layer that would stop the egg tempera from properly oxidizing/curing, and could cause potential bloom or mold problems. Your thoughts?
Answers and Comments
I do not share those concerns. However, I do wonder about
the function and need for the isolation layer. Is this to facilitate later oil
or glaze applications?
I believe that I covered these topics (to the degree that I
am able) in your other thread. As you would expect, I offered no magical panacea.
As I suggested there, I would prefer a solvent born isolating layer over an
aqueous or dispersion layer for exactly the reasons you suggest.
On the other hand, we do know that glair (egg white varnish)
was used over egg tempera and later oil paintings from the middle ages on. (see
The Conservation of Easel Paintings ed. By Stoner and Rushfield)
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