MITRA Forum Question Details

I am re-reading my post of February 19, 2018, https://www.artcons.udel.edu/mitra/forums/question?QID=408, and all the responses below it. As you know, I am hoping to work without toxins throughout my processes. I am seeking to know: can I create a stable painting without them? After laying out my specific questions for you to consider, I will describe my proposed modified approach, based on the answers you have given thus far.

Specific Questions:

Although lead white would add strength to the canvas, will the combination of my various processes create a more than adequate archival stability for my paintings over the centuries?

Specifically,

Can the rigid support (cradled panel) and the alkyd nature of my titanium white compensate for lead white usage in the ground and throughout my painting?

Can a traditional wet imprimatura compensate for the greater absorption of Golden Acrylic Gesso Ground? (I hope so - it seems to do a perfect job of it – performing for the artist during the process just as well as chalk gesso does – with perfect absorption level for the richer glaze layer and excellent surface flow for the subsequent lean paint).

Proposed Process:

1.  Size a 16 oz. tightly woven raw canvas one side on the topside while fabric is flat on table. I prefer Gamblin PVA, for reasons already stated in a previous reply.  Snap the fabric when wet to work out any wrinkles. Let dry a day.
2. Evenly stretch canvas over a birch cradled panel, with the weft direction being vertical for maximum long-term support. Use non-rusting strong thumbtacks for easy potential conservation adjustments if ever required.
3. Rewet the stretched canvas after stretching with PVA if there are still any wrinkles to facilitate the pullout of the fabric. Let sit a day.
4. Hand rub and sand five coats of Golden Acrylic Gesso Ground, slightly diluted for smooth application.
5. Allow to cure over several days.
6. With Gamblin Solvent Free Fluid, dilute Gamblin FastMatte Alkyd Safflower Oil Foundation paint (mostly Burnt Sienna) no more than 25%. Rub on a high paint spread imprimatura-priming glaze with a cloth.
7. Into the wet glaze, drop an undiluted foundational layer (grisaille) using Gamblin FastMatte Titanium White and Burnt Sienna and Ultramarine Blue (mixed to the same colour as Burnt Umber). Let dry several days.
8. With virtually undiluted Gamblin FastMatte paints, add another foundational layer (Velatura). Let dry several days.
9. Add several layers, several days apart, each starting with a glaze or scumble of the same paints diluted with no more than 25% Gamblin Solvent Free Fluid, with high paint spread. Then modify the glaze with additions of slightly diluted paint, or in white areas, undiluted paint.      

Palette: 

Gamblin FastMatte Alkyd Safflower Oil Paints:

• Titanium White
• Burnt Sienna (in foundations)
• Quinacridone Red
• Hansa Yellow (in foundations)
• Ultramarine Blue
• Phthalo Blue
• Red Transparent Earth (in glazing applications) 

Rembrandt Oil Paints

• Transparent Yellow (in glazing applications)

I am looking forward to your answers. Thanks so much for all you do and for your clarifications here.

Kathy Marlene Bailey