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Arteni
…In the case of Carlo Crivelli's ‘The Dead Christ supported by Two
Angels’ (dated to about 1470–5)…study revealed the presence of a heat-
bodied walnut oil with a resinous component, which exhibited a modest
amount of a pimaradiene component, sandara-copimaric acid. This
represents the residues of what must have been a sandaracopimaric acid-
rich resin, when in a fresh state. In essence, it is reasonable to conclude
that this varnish is composed of a Cup-ressaceae resin, combined with
walnut oil, which had been heat-bodied…
…Some glassy inclusions within the body of varnish are worthy of
discussion. At first it was thought that some local and isolated clumps of
these must represent the incorporation of sand or ground glass as an
extender or bodying agent or, possibly, as a siccative agent. However,
infra-red analysis of such particles unequivocally demonstrated their
organic nature and the partially Fourier self-deconvoluted (FSD) spectrum
compared favourably with that of a polycommunic acid polymer, such as
that found in resins exuding from trees that are members of the
Cupressaceae subfamily. Apart from some loss in intensity of the c. 890
cm-1 exocyclic- methylene band and an increase in overall carbonyl
content, much as would be expected in an old sample, a polycommunic
acid polymer basis seems most likely. This lends additional support to the
principal evidence from GC-MS analysis of the residual monomeric
indicators. These inclusions appear to result from ground sandarac resin
that has not been sufficiently heated to cause scission of the polymer and
decarboxylation (so somewhat reducing polarity of the oligomers) to have
permitted homogeneous incorporation of the resin particles with the
walnut oil.
…The fact that the sandarac and walnut oil varnish was probably not
subjected to prolonged heat may account for its remarkably undiscoloured
state. This would explain why it was never removed…
https://artuk.org/discover/artworks/the-dead-christ-supported-by-
two-angels-115544/search/keyword:carlo-crivelli/page/2
National Gallery Technical Bulletin Volume 33, 2012
Colourless Powdered Glass as an Additive in Fifteenth- and
Sixteenth-Century European Paintings
Marika Spring
…So, the purpose of the present study was to evaluate the recipes of the
Erminia. To this end, 25 varnish samples were studied, from icons
coming from five monasteries (Simon Petra, Meghisti Lavra, Nea Skiti,
Xenophontos, Xeropotamou). The oldest icon can be dated to the
sixteenth–seventeenth century; most of them belong to the seventeenth
to eighteenth centuries and one is from the early nineteenth century.
Only four of them are dated exactly. There is a high possibility that the
varnishes are the original ones, used by the hagiographers, since the
icons are not known to have been restored in the past…
…The study showed, first, the resinous nature of these varnishes and
second, the presence of oil in some cases…
…In summary, in 20 icons colophony was identified in the varnish (by
the presence of its degradation markers: 7-oxodehydroabietic and
dehydroabietic acid), while in two samples Venice turpentine was
identified…
…Sandarac was not identified in any sample; this result is particularly
interesting, because it contradicts some aspects of the recipes of
Dionysios of Fourna…
http://www.icon-network.org/Study-of-Post-Byzantine-Icon.html
https://createdwithlovvve.files.wordpress.com/2014/05/img_3822.j
pg
Vernice protettiva della pittura, che viene data all’icona una volta finita.
È un’antica ricetta conservata per secoli nei monasteri dell’Athos, a
base di olio di lino cotto con aggiunta di resine e sali minerali.
https://createdwithlovvve.wordpress.com/2014/05/07/olifa/
Boiled Oil
The Netherlands
www.e-corpus.org/notices/102464/gallery/
https://www.facebook.com/MuseoItalia/photos/a.13323340342
5217.35373.128222747259616/641505655931320/?type=3&the
ater
TRADITIONAL MATERIALS FOR PAINTING
Lazurite
Rublev Colours Lazurite is a deep blue color from genuine
precious lapis lazuli stones used in historical painting. It is a
transparent, medium grained color with good tinting strength. It is
a very long paint and makes soft, cool tints with white.
https://www.naturalpigments.com/lazurite-50ml.html
Venetian Medium is based on research that 16th century Venetian painters added
powdered glass to their paint. Contains leaded crystal glass powder, pale bodied
linseed oil and turpentine, with small amounts of wax and lead.
Use Venetian Medium as a glazing medium that is fast drying and offers the glaze
brilliance due to the crystal glass particles. Spread thinly onto the surface and paint
directly into it as a couch or add directly to paint nut. Smooths the edges of brush or
knife strokes. Venetian Medium is fast setting and dries to a satin finish.
Directions
Spread thinly onto the surface and paint directly into it or mix directly into paint on
the palette to give colors a flowing consistency that holds brush strokes yet dries to
a satin finish. Use to “oil out” or as a painting couch by rubbing a thin layer onto
completely dried paint. Gives paint a longer, flowing consistency.
https://www.naturalpigments.com/venetian-medium.html
Oleogel is a firm thixotropic gel made with linseed oil and fumed
silica. Add to thicken colors for creating impasto effects that do
not sink. Contains no driers, so it is safe to use in oil painting
without worry of cracking.
https://www.naturalpigments.com/oleogel.html
Walnut Oil Gel
Walnut Oil Gel is a thixotropic painting medium made with walnut
oil and pyrogenic silica. Walnut Oil Gel is a clear pale amber gel
that adds transparency and thixotropic body to oil, resin-oil or
alkyd paint. Add directly to your paint to give it transparency
without thinning its consistency. Add pigments or extenders to
thicken it for creating impasto effects that do not sink in.
https://www.naturalpigments.com/walnut-oil-gel.html
El último fabricante de colores de España
Francisco Pizzorno
08/06/2017 17:52
http://www.elmundo.es/papel/historias/2017/06/08/5939379e22601d161f8
b45ac.html