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Question asked 2020-08-29 09:19:42 ...
Most recent comment 2020-08-30 00:24:38
Drying Oils
Dear MITRA I have been reading about using a mixture of sun thickened linseed oil and egg white to oil out the painting surface at least initially (before the first layer; I'm not sure if my source recommends it between subsequent layers or not) and am wondering if this presents any problems as regards the stability of the paint film long term?
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Moderator Answer
(brian baade)
A properly formatted ground chosen for the type of media you
are applying should not require oiling out. Additionally, a mixture of egg
white and oil is not an emulsion that would be considered very stable. There is
little in egg white to serve as an emulsifier, unlike egg white which contains
large amounts of lecithin, a natural emulsifier. Egg white is primarily protein,
which means that it will become rather brittle. The oil would plasticize the
film some, but I do not think it is advisable unless there is something special
about the mixture.
An important consideration here is whether the painting is
executed on canvas or panel and what type of ground was applied. A
painting on panel might be fine with this layer while one on canvas may not. I
would certainly warn against adding an emulsion like this between oil layers.
This sounds somewhat similar to techniques employed by the early 20th
c African American Painter Henry Ossawa Tanner. Kristin and I have done a lot
of work on Tanner and his paintings using a mixed method like this are often in
seriously poor condition.
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Moderator Answer
(brian baade)
Under the specific circumstances you mention, and assuming
that the ground is chalk-glue/gesso/ or an acrylic dispersion, this would
probably pose no issue as long as it is only an initial “oiling out” and not being used as
an interlayer between paint applications.
As to Louis Velasquez,
I do not want to character assassinate here, but when one puts oneself
into the position of being an expert, despite having no background to support
this assumption, one must be willing to take criticism.
Louis Velasquez has no
background in codicology, art history, technical art history, organic media
analysis, paint technology, flow dynamics, painting conservation, and quite frankly, he clearly has little
experience with successful fine art painting based on the evidence shown in the images of his
paintings. I do not want to hurt this, clearly earnest, individual's feelings,
but I feel that, given the above, one should take his advice with the most minute grain of salt.
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