About forty artists, including some well -known, grouping different aesthetic tendencies, exposed works entirely with one of the two reconstituted mediums: the Flemish or the Venetian. These, since then, have been an interest that has not ceased to grow. The enthusiasts spoke of a revival and a revolution in painting. There are words far too big for reconstitution of a material, but the idea from which this reconstruction was born is not unworthy if it means renewal and open road to new research. Maroger had been strongly impressed by this blocked cough that could be repeated almost immediately. This is not because it had been applied "weakly" with a little binder, because it is present in the transparency in which the oily or resin fraction becomes predominant. Its time is among the first Flemish who worked in a crescendo of dark tones (as in watercolor), and forgetting the process in the eighteenth century when the shadows will be fixed with a simple tendency to flatten.
With says that A substance is tixotropic when, being dense, it is fluidized by stirring, returning to its initial consistency by rep & bone. Moving sands are, in this sense, an example, she and some mixtures whose formulas have come to us. The ones are contemporary with Rubens and everything happens and as it would have used such a material, rubbing the brush liquefies it. The rest not by drying but by resuming the gel status gives the material sufficient consistent again to allow the overlap that will not train. It should be noted, which is very important, that drying itself occurs slowly. Rubens' letters are proof in this regard. It should also be remembered that the painter often resorted to sun exposure, to ensure perfect drying and, as he himself explains, to destroy the coloring matter that the oil forms during drying.
The sun rays, in his opinion, the only antidote. Against this heart disease ". Another. Advantage of these mediums was to ensure preservation. Raw oil is constantly in contact, with air. It is considered that, after four years, its evolution has not yet ended. In fact, it dresses very diverse forms, according to the nature of the products that have been associated with the oil.
It is known the adverse role of certain "surfaces of surface", introduced by the eighteenth century to favor the socket. After solidly grouped in the periods of youth then the molecules dissociate. The bright matter and without stripes. Rubens's texture is spongy and similar to that of a thick foam that allows to see the oily print of the brush features. When we reach Fragonard, the traces of the brush are seen only on white; The other pigments are not striated, they do not retain the light. The material does not remain in place and the feature loses its precision. The main feature of the Ini Rubens school, the brush feature can be seen everywhere; The edges, on the sides, merged without any perceptible interruption.
Valions, even the most liquid, remained in place, without flowing. It decomposes under the effect of a true slow burning. It becomes sensitive to water and solvents. But, it happens that, deleting with acetone the picture of a Flemish or Dutch painter, dating from the golden age, to see how the reputations executed in oil at successive restorations disappear, while the original painting resists, although it is much older. The proof that the artist used a special material-oil previously treated to guide his evolution-the argument being the presence of stabilizing elements. We add that the work on the fresh, gives a homogeneous matter in all its thickness, in opposition to the one formed by a stamp of layers with different degrees. We reach the effects of transparency that offer painting one of the richest means of expression.
Any color, even opaque, becomes transparent if we divide its particles through a binder with close refresh. But, as we will see in the following, a kind of mixture, in which the pigment is rarefied by this dilution, must be applied in a thick layer to keep its intense color. Anyone knows that two pieces of colorful glass give a deeper shade than one. Likewise, in order to copy the painting of Rembrandt's "skinned", not used raw oil or a simple verni, but a dense and glassy matter of consistency with which it mixes. We now know the importance of the basic substances (lime and ltarga) so commonly found in the recipes of that time. We will never insist enough on the need to avoid the migration of the oil to the lower layers, including the preparation of the support. This is the cause of accidents even when it was respected, during the painting, the "fat on weak" rule.
In fact, this is then violated, if the oil, remaining too much time in a liquid state due to lack of Sicativity has time to diffuse to the background through osmosis. Another case of oil movement, this time to the surface, is that of "tired coughs". It appears when we insist on pasta (coughs) already applied by pressing with the brush or with the knife. Then it is said about the color that it "pamperates". To understand what is happening, let's think about the footsteps on the wet sand when the waves withdraw. The places trampled by the foot appear glossy on the Mata beach. The pressure exerted on the sand makes the water come to the surface.
However, not only the color pastes are thus poor in their mass, so subject to the danger of cracking, but the oil came out will not delay to close. The mediums oppose such migrations. Do we want to combine two different colors? We can do it, on the one hand, by the juxtaposition of the coughs or by the simple mixture of the pasta. We will return later to this common process almost all painters. We will say from the beginning that he has his limits: he makes the tones become ash or dirty them, which explains why it is not used by certain modern artists. On the other hand, we can overlap.
If the last applied color is transparent, it plays the role of a filter. It does not allow the incident light to illuminate the background only in a certain color. Only the color of that part of the spectral area that has in common with this fund will be turned to the viewer. What will come back to the eyes will be of a mitigated brightness, but of increased purity. But a medium allows the application of this principle, in amazingly different ways: first, we can exalt a tone. De Mayerne gives recipes for different cases in an important chapter of his work Labeurs de, Couleurs. The rule is to overlap a vivid, translucent color, over a dead color, of a boned, but opaque tone (and, for this purpose, sometimes bent with white).
Thus, the ultramarine spreads over the cobalt blue or over the cendre. Bleue, the red lake over Vermillon. The intense black is obtained by first putting a black gray of smoke over which we return with ivory black that covers less, but is more transparent.
* Note:Havel, Marc -The technique of the painting, Meridiane Publishing House, 1980