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03-04-2004, 03:24 PM
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#1
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SOG Member FT Professional '04 Merit Award PSA '04 Best Portfolio PSA '03 Honors Artists Magazine '01 Second Prize ASOPA Perm. Collection- Ntl. Portrait Gallery Perm. Collection- Met Leads Workshops
Joined: May 2002
Location: Great Neck, NY
Posts: 1,093
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[QUOTE= E. Melanie Gifford, PhD, Research Conservator for Painting Technology at the National Gallery of Art in Washington, D.C.]"The painter has to chose the working methods that work for him.
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03-04-2004, 06:03 PM
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#2
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CAFE & BUSINESS MODERATOR SOG Member FT Professional
Joined: Jul 2001
Location: Seattle, WA
Posts: 3,460
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Quote:
Michele, if you just use the paint thinly, straight from the tube, then why are there countless recipes and products specified as glazing mediums?
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There's lots of stuff out there on the market that I wouldn't use, or that might detract from the longevity of a painting. Just because someone makes it and sells a lot of it doesn't necessarily mean it's the right stuff.
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03-10-2004, 04:36 PM
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#3
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Associate Member
Joined: Feb 2002
Location: Greensboro, NC
Posts: 114
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Opens a can of Uber Worms ...
Speaking of glazes being 'cleaned off' over time, I just finished a book on painting conservation by Keck (written in 1965) where she mentions a few cases of this very thing. And while reading it, I began to wonder, what do you pros do to ensure that your relatively few glazed passages are not 'cleaned off' in the future?
Here's my problem: I have developed a habit of glazing Alizarin over a portrait to appropriately redden checks, noses, or ears, in addition to glazing clothing and sometimes shadows on the face. Since these glazes will be the very last layers of color within the portrait, how could one best ensure that a future cleaning wouldn't remove these passages when the varnish is stripped off and re-applied?
What do you guys do?
Minh Thong
(For the record, I'm quite sure I have not yet painted anything that will be around long enough to need cleaning. However, I'm still curious because I stubbornly cling to the hope of finding a teacher before I'm so old my eyesight is gone and I am forced to explore scultpure.  )
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03-11-2004, 11:51 AM
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#4
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Juried Member FT Professional 10 yrs '05 Artists Mag
Joined: Jul 2003
Location: The Netherlands
Posts: 178
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Dear Minh:
In Keck
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03-11-2004, 12:43 PM
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#5
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Associate Member
Joined: Feb 2002
Location: Greensboro, NC
Posts: 114
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Thanks Scott.
So today's varnishes, not being as strong as that previously used, merely will require less rubbing for removal, thus sparing the upper glazed layers? I've noticed my Rambrandt Permenant Madder seems quite 'fragile' when retouch varnish is applied (I've lifted it off when retouching after a month drying), so I was thinking cleaning down the road would take it right off. Again, as you can see from my newest avatar, I still have quite a ways to go before I need to worry about this kind of thing. But you never know.
I have the Gamblin kit, but haven't used it yet. So far, I have only retouch varnished (Damar/Turps) the few things I want to save or have sold/given away, but I have two semi-keepers coming due for a final varnish any time now.
Thanks again ...
Minh
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