CALCITE SUN OIL , AGUADO a new medium for oil painting, GLAIR, Maroger Medium,

FAQ's

Most of you know the various BLOGS and AMIEN is one. The AMIEN staff tries hard to give
solid information. They are not perfect like none of us are. When I teach or write I am guided
by the FOUR 'C''s. = CLEAR- CONCISE - COMPLETE - CORRECT.
Though I do my best, I find the need for constant revision, upgrading and improving...maybe
I could call that R-U-I. I'm the first to say I do not have all the answers and know numerous
unanswered questions remain.

I recently found an older posting on AMIEN that I am compelled to place here on my website.
It discusses MAROGER'S MEDIUM. The US Copyright laws have a FREE USE clause that
allows one to use copyrighted material if it is not for commercial gain.

I respectfully use this article as provided by law and give due citation to the AMIEN website.
The portion I place here is but part of a much longer section of conversation between the
AMIEN STAFF and ARTISTS. One can read the entire section here=
http://www.amien.org/forums/showthread.php?t=86
The areas in BOLD are mine because they make a specific point that I consider to be very
important

I thank AMIEN, the Moderator MARKG, the author Michael SKALKA and you the readers.
Please note. The posting began on 7-20- 2006 and has continued into 2008 with various
commentaries

*********************************************************************************************************************

07-20-2006
markg
Super Moderator Join Date: Jul 2006
Location: Chagrin Falls, OH
Posts: 1,374
The Maroger Mediums

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[ Markg says:] This is courtesy of my colleague Michael Skalka, Conservation Administrator
at the National Gallery of Art in Washington DC. His publication, THE GRAMMAR OF
COLOR, is well worth subscribing to.
-------------------------------------------------------------------------------------
THE GRAMMAR OF COLOR
Volume: 2, No. 9

When it comes to mediums used by artists, the argument is circular in nature. The materials
take on a spiritual quality and the practitioners have a reverence that is almost religious in
nature. Arguing with them is akin to playing the part of Clarence Darrow against William
Jennings Brian in the Scopes Monkey Trial in 1925. To make your point you appear to be
denying the existence of God!

So to fully qualify for the circular nature, I am dedicating this Grammar of Color to all of you
who need to rehash a subject that I covered in the past. Yes, it's deja vu all over again and it
only gets more repetitive with every retelling. Perhaps the heated oil and lead have finally
gotten to the Maroger users and they just cannot retain information anymore! Perhaps the
heated oil and lead have finally gotten to the Maroger users and they just cannot retain
information anymore! Oh! Where was I?

For those of you who follow WetCanvas, this is a retread of posting I made on Maroger
Medium with some humorous asides. There is no joking with the WetCanvas group when it
comes to discussing mediums. For some this essay will be the first time around. For others it
may bear repeating. For me, it's a lot like the movie, Groundhog Day. Only the people I am
addressing regarding Maroger Medium on the internet web site don't look a bit like Andie
MacDowell.

The subject of this discussion is a review of the article "Old Master Recipes in the
1920s, 1930s, and 1940s: Curry, Marsh, Downer and Maroger," by Lance Mayer and
Gay Myers. It provides a wealth of information on the history and effects of the use of
painting mediums, especially Maroger Medium. If after reading it you are not convinced that
this medium has hostile intentions for your painting, you have missed the point of this
well-documented article and you should use this medium, often and liberally.

The paintings of Reginald Marsh and John Stuart Curry, who were enthusiastic advocates of
Maroger and his mediums, (Emphasis on mediums - plural, that I will address later.) suffered
to a far greater degree than Curry's studio assistant's William McCloy. No statistics on the
amount used by the two artists were mentioned, but notes on their studio practices do exist
and were quoted. Both were fairly liberal with the use of Maroger's formulations and the
authors, upon examining paintings in various collections, noted the cracks and wrinkles in
the paint surface as evidence of the accelerated drying caused by Maroger medium. Curry
and Marsh had paintings that nearly self-destructed shortly after they completed them.
Desperate to believe that Maroger held the Secret of the Old Masters, they smeared paint
and medium around and saw the results unfold, figurative and literally.

Modern day painters appear to advocate a "moderate" approach to the use of Maroger
Medium. Using 10 percent or less gives them the paint handling characteristics while feeling
that the volume of medium will do no lasting harm. It seems that moderating the inclusion of
detrimental material will stave off the ill effects of the materials contained within the medium. I
find that similar to saying that someone is just a little pregnant. Research has provided the
notion that small amounts of harmful material in an oil film will have long-term impact on its
aging. The addition of natural resin into an oil paint will do several things no matter
how much is added. First, natural resins aid in making paint more glass-like over time. Oil
paint will do this on its own without any added help from natural resins so that the
adulteration with resin only serves to worsen the problem. Second, natural resins create
more soluble paint films. This is compounded with both the resins and oil darkening over time
so that when the customary coating of natural resin varnish needs to be removed because it
has become very yellow and cloudy, the paint containing the infusion of natural resin will
react the same way to the solvent mixture used to remove the varnish. The best a
conservator can do is to thin the varnish to remove at least some of the discolored yellow
coating. Third, the appearances of paintings with added resin mediums suffer from cracking,
flaking and discoloration to a greater degree than with unadulterated oil paints. The other
enemies of paintings are shock and vibration from transport, high temperature and humidity
conditions around a painting, exposure to light levels and natural or artificial disasters
(floods, fires, etc.) In all these cases the incorporation of natural resins, given their brittle,
yellowing properties, serve to accelerate the effects of shock, temperature and light
exposure.

On so many occasions Maroger Medium zealots blame conservators of looking only at a
paintings faults rather than its virtues. As a "doctor" of paintings, conservators only see
"sick" patients. However, conservators in museum practice see many more paintings in good
condition than those that need remedial treatment. The examination of pictures slated for
exhibition and a review of the condition of paintings on view in galleries that are all in good
condition comprise a greater number than those that need treatment. So conservators are
very aware of paintings that are doing well and remain with little change as long as the
environment remains stable.

Conservation literature is filled with articles on damaged paintings and how they were
treated. Conservators treat paintings in order to earn a living. They do not have the luxury of
being able to study materials and do experiments on the stability or longevity of art materials
for the sake of artists, unless artist were amenable to paying for this kind of advice. If
conservators are akin to doctors, how many journal articles are devoted to wellness as
opposed to teaching other physicians how to treat the illnesses that are presented to them
on a daily basis? Conservators learn new techniques for treating objects by reading the
novel approaches conservators apply toward problems encountered. Art historians write
about pictures that are in good shape. Conservators write about paintings that have fallen ill.

We rely on art schools to teach and work out the techniques that create successful,
long-lasting works of art. I hear the skeptics among you snickering out there. Sounding like
someone's mother, "So if you don't learn proper painting technique at home or in school, you
will pick it up out on the street." It is no wonder that on-line art forums are so successful.
They serve as the classroom, home and "street" for our hunger for information, sharing of
ideas and the fruits of our labors.

Both Marsh and Curry, eager to experiment with materials, unfortunately became
associated with Maroger at the most inappropriate time in the careers of all three
individuals. Marsh and Curry were approaching their prime and the use of these
mediums, while inspiring at first, became a nightmare for both artists as their
paintings failed. The correspondence between the artists and Maroger became
increasingly confusing.

The confusion expressed by Maroger exposed his shortcomings. With American painters
desire to learn Old World techniques and past practices, Maroger claimed to know the
Secrets of the Old Masters. Aided by books written by Doerner, Vibert and Laurie that were
introduced during the early 20th century, artists were keen on learning the Secrets that
would create great paintings. Maroger stepped forward to "ride the wave" and claim to have
the Secret of the Old Masters.

But, why would this 'secret' evolve over time? Maroger's medium in 1940 was a two-part
system of 50 percent Gum Arabic in water and a second part composed of dissolving damar
in linseed oil using heat. Maroger instructed the user to mix the gum and damar mixture
vigorously to create a single painting medium. Maroger then proposed that the gum and
damar mixture should have a companion medium. A solution of 10 percent litharge by weight
cooked with linseed oil was used to create black oil. Maroger instructed that the black oil
should be used on the surface of the painting to create the monotone underdrawing. The
gum and damar mixture would be applied with the paint on top of the black oil underpainting.

Soon after Maroger change the recipe to have colors ground in black oil with the exception
of the whites and yellows. By 1942 Maroger recommended the use of white lead instead of
litharge to make black oil. The amount of lead went from 30 percent, down to 20, then to 3 to
4 percent. When Maroger moved to his famous Baltimore address, he concocted a new
medium. It was a solution of mastic dissolved in turpentine or linseed oil (walnut oil could be
substituted as well) mixed with his black oil medium. I suppose he was so absorbed in his
work and unaware of history that he failed to recognize that he had just reinvented the 18th
century medium, MEGILP. Are we surprised? Given the limited number of variables that
Maroger was controlling, it was inevitable that Megilp would come out of those "happy" little
experiments.

After all these changes and revisions, Marsh and Curry finally realized that
Maroger did not possess any of the Secrets of the Old Masters. He was merely
experimenting and trying to gain undeserved notoriety during a time when
knowledge in the techniques of the Old Masters would have propelled the holder
of the secret to fame and possible fortune. Hence, in hindsight, we see Maroger as
a snake-oil salesman desperate to come up with a formulation to simulate a
painting technique that we now know by scientific investigation, never relied on a
secret medium.

Some cosmic justice did come from Maroger's experiments. Mayer and Myers
examined paintings by Maroger and found, just has they did with works by Marsh
and Curry, the same kinds of traction crackle, wrinkling and uneven yellowing was
present.

Overall, Maroger zealots will not find evidence to assuage themselves in the article written by
Mayer and Myers. Rather, with the addition of natural resins and drying oils to paint, the
damage that leads to inherent vice is done. The resins amplify the brittleness of the paint,
cause yellowing and make the paint highly soluble. We have not gone into the issue of
metallic driers, but I can tell you that I have not met a paint scientist that is comfortable with
the chemical action of metallic driers. My friend and colleague, Leslie Carlyle wrote a thesis
and subsequent book on mediums that contain metal driers noting the adverse
consequences of adding these materials to paint. Marion Mecklenburg of the Smithsonian is
writing and speaking on the threats of metallic driers. They are dangerous and do unusual
things to the structure of paints. You get quick drying time at a price that many artists who
want their work to last a long time would be unwilling to pay. Quality of ingredients, the
amount of medium and the care of the painting are inconsequential in the long run. The
chemistry of the ingredients in Maroger medium along with time will lead to
degradation of the paint film.

It is analogous to a very powerful poison. No matter what the amount, no matter what the
quality (purity) of the poison, and no matter how well the patient is cared for by a physician,
they will still succumb to the effects of the toxic properties of the material used.

You can't have it both ways with Maroger medium: good working properties and no ill effects
to your paintings. As I stated previously, oil paint is prone to becoming brittle, yellow, crack
and flake even under the best of circumstances. Introduction of natural resins will make it
even more brittle, yellow more than straight oil paint and promote an increase in flaking and
cracking. Metal driers like lead will only compound the woes I have already mentioned.

I was not kidding about the religious nature of Maroger. Jacques Maroger's studio studio still
exists. Said to be a copy of a Parisian studio, it's high ceilings, windows and entry way, for all
intents and purposes, it looks just like a chapel. For those of you who would like to make the
"pilgrimage," it is located on the campus of Loyola College of Maryland, in Baltimore. It is still
used today as a studio teaching space.

To the Honorable William Jennings Bryan wherever you are, I rest my case. Amen.

The Grammar of Color
If others you know want to receive The Grammar of Color and our lecture announcements,
please forward this e-mail to them and instruct them to send me a message requesting to be
on the recipient list at:
m-skalka@nga.gov

They will be added to the database/addressbook. If you wish to be removed from the list
please send a message to the address listed to be taken off of the database.
__________________

PLEASE NOTE IT WAS NOT..THE AMIEN STAFF that wrote this article - BUT I thank them for
posting it. We all benefit from the scientific studies of scientists and Conservators.

HERE IS AN EXCELLENT ARTICLE ON AMIEN
DISCUSSING MAROGER'S MEDIUM

"FAT ON LEAN" .
This short essay provides guidance on this important principle of oil painting.
Fat on Lean', is given by instructors as a cardinal rule one must never violate.
WITH the CSO/EMULSIONS method of oil painting,
this rule is NOT IMPORTANT and need not be followed.

When mixing solvents with oil paint, this rule must be followed. When volatile solvents ( evaporative
liquids) such as turpentine are added to oil paint, the paint becomes LEAN. This lean condition
accelerates the drying of the oil paint. IF the FASTER DRYING solvent containing paint is applied on top
of a SLOWER DRYING non-solvent paint layer, the two different drying rates will cause the upper paint
film to crack.

With CSO , all the paint is FAT
The ONE rule with CSO that must be followed is , 'PAINT SLOWER DRYING PAINT ON FASTER
DRYING PAINT". This is easier than one thinks. When using the SUPERIOR oil described in my book
and website, the oil dries within 30 hours without any additives of any kind. This means that
YESTERDAY'S paint application is one day into drying [ oxidizing] .
This means that TODAY'S paint application .....on YESTERDAY'S paint ......is SLOWER DRYING.

Still, one must learn which colors dry slower or faster than others. UMBER is such a very drying
color, and mixing just a bit of it with other colors increases the drying rate. If you underpaint in grays,
monotones, muted color grisaille methods, then , adding umbers to all the colors used will insure a
faster drying paint.

OIL OUT With the CSO / Emulsions method. As soon as the paint layer is TACKY DRY,
it can be "oiled out", and a new layer paint can be applied.
Following the correct application method of 'oiling out' is crucial.

MAURICE GARSON PAINTS A PORTRAIT WITH THE
CSO / EMULSIONS METHOD
SEE his fine website at www.askmaurice.org.
His site is extensive and dedicated to EDUCATION. He himself is a Fine Artist. You will
enjoy his paintings and the varied topics of his site.
I encourage artists to visit with Maurice.

A few months ago, we communicated and recently he decided to EXPERIENCE CSO for
himself.....and to write about it as he so EXPERIENCED it.!

I am happy that fine artists with web site do try out the CSO/EMULSIONS method of Oil
Painting. I know the method is truly foolproof, and my book and site both describe it. I often
cite the letters I have received from artists around the globe, describing THEIR
EXPERIENCE with the CSO/EMULSIONS METHOD. Thank goodness for those
letters...otherwise...the NAYSAYERS would be really trying to discredit the CSO method.
Its hard to argue with the Testimonials of others.

IF YOU GO TO MAURICE'S PAGE: www.askmaurice.blogspot.com
you can see his progress on painting a portrait with CSO. I support all creative artists in
whatever they wish to do, and however they wish to alter ANY MEDIUM to suit their needs.
Maurice is a talented experienced painter with much experience in many media. His
creativity showed itself as he worked with CSO..even trying NEW things I have not done. I
do not criticize Maurice- on the contrary--I support his inventive creativity.!!

Having said that. I will here post my review of Maurice's EXPERIENCE, which he so well
describes in direct language and photos. He pulls no punches. He is honest. It is a joy to
read the words and words between the lines as this painter EXPERIENCES ...SOMETHING
NEW!

5/18/09= Maurice begins his portrait. He describes the support he used He sized the back
of an acrylic gesso canvas with PVA
On page 96 of my book, I describe using PVA as a size material. In short, IT DOES NOT
SEAL the support. This absorbancy will allow oil from upper layers to be sucked into the
canvas, causing sunken spots in the upper paint layers. He then applied an oil ground to
the PVA sized canvas. THIS would have decreased the absorbancy of the PVA sized
canvas.
PVA will render an acrylic gesso completely NON ABSORBENT, but it must be brushed only
once as it will LIFT the gesso if rubbed.

6/3/09 = Maurice's second comment about his portrait. . He descibes the support in more
detail.

6/8/09 = Maurice rightly says that the painter NEW to CSO will have to learn new habits. Its
true, but they are simple. Most importantly he says that solvents resins and driers are not
needed and NOT WELCOME!! Thank you Maurice.!
Maurice says to grind the colors on the palette. I need to amplify this. The Old Masters
used small hand palettes and large GRINDING TABLES. My book describes that it is
imperative that one use a GRINDING TABLE. A simple 2 FT x 2 FT glazed floor tile is
adequate. All the grinding, mixing, thinnin etc are done on this GRINDING TABLE. Then,
placed on the small hand palete for use.
Maurice correctly notices that the CSO paint dries fast--within 24 hours- without solvents or
driers!! I know the different colors we use dry differently as do hand ground vs, tube
paints. But this is one of the great advantages of CSO..its fast drying allowing next day
work. THIS FAST DRYING IS DUE...TO THE OIL... THE TRUE OIL OF THE OLD MASTERS.
It is far superior to modern INDUSTRIAL linseed oils.

MAURICE'S creative mind led him to not use the oil out of the emulsion that I recommend.
He did this to get a dry brush effect, but saw he was building up paint. He then oiled out,
and then found a NEW TECHNIQUE - one I have never tried. He began to draw with soft
pastels into the damp emulsion oil out. He then blended the pastels with finger or brush,
and it appeared as oil paint. THIS NOVEL approach, might be what led Maurice to notice
that there were dry spots in the overall surface. As the added dry pigment may have been
underbound. I will not know until I try his technique out. Maurice warns NOT to use oil
pastels nor dry CHALK sticks.

ONE IMPORTANT reason for the emulsion oil out , is that it allows the thinnest applications
of paint...just like VELAZQUEZ thin paint.... withuse of a ROUND bristle brush..the thick
viscous CSO paint glides effortless over the surface...AND EVERY BRUSHMARK stays
where it is placed. The EMULSION seizes the paint..until you want to move it, blend it,
remove it, or alter it..whether thin or thick. THE CSO and the EMULSION are designed to
COMPLEMENT each other. ONE WITHOUT the other is only HALF the success. The oil
paint is NEVER liquified as in the solvent-resin method.

6/12/09= Maurice describes the fast drying of the paint. Its true. This superior oil is to me, '
THE REBIRTH OF THE OLD MASTER'S SUPERIOR OIL". It allows oil painting without
driers, solvents, varnishes or resins. ONE DAY, industry will produce this magnificent oil. I
am proud to be a pioneer in spreading its value to others.

MAURICE comments on the , ' still trying to get used to the thickness of CSO". YES, CSO
PAINT is viscous, . but Maurice was using sables. I recommend one use bristle brushes at
the beginning and sables work very well for finishing the painting. The viscosity of the CSO
paint is EASILY blended with a bristle brush.

6/24/09= Maurice describes the dry areas. I think there are new causes, as the pastels
might be the cause, as well as a partially absorbent ground.
Maurice describes the need for a FATTER medium. Here I do not know what Maurice did. I
give 2 possible ratio mixtures for the Emulsion. Both are used very very sparingly, as the
CSO PAINT is viscous [ fatty] of its own. He wonders whether changing the ratio of GLAIR
and OIL will cause drying problems. NO, not in the least. ONE MUST have MORE oil than
Glair in the emulsion mix. My book describes this issue carefully.

6/30/09 = Maurice writes that he has NEW information to inform the reader. He found that
by LOADING the brush in minute quantitries he can imitate his previous textures of the soft
pastels. He calls the CSO, " this highly viscous medium".
It truly is highly viscous and that is how the paint is used. Any thinning is done with but one
drop of the emulsion at a time..and never by mixing with the brush..but, mixed/ ground with
the palette knife on the GRINDING TABLE. ONE DROP will greatly alter the paint's
consistency.
Maurice correctly notes that any dry areas are not an issue, as the final painting will
receive an ultra thin emulsion oil out. This final layer oil out is a permanent layer, not a
removable layer ..such as is given with spirit varnishes.

CONCLUSION TO DATE 7/4/09
I am happy that an experienced painter such as Maurice has EXPERIENCED the CSO
method LIVE!
I will wait to see the finished painting.

The CSO-FIXATIVE METHOD of
FIXING CHARCOAL DRAWINGS SAFELY
WITHOUT AEROSOL SPRAY CANS.
The paintings of the great 17th century Flemish painter Peter Paul Rubens,
leave me in awe. Study of the originals reveal a masterly method of oil painting. Many times he began
with a vine charcoal drawing , then with a wash of oil paint he glazed the darks. On this he painted a
grisaille with thick viscous paint then over layered it with a variety of finishing touches using thin and
thick paint.

In the very large paintings of several feet in size, he casually left the charcoal drawing visible in the
finished painting. The drawing has a beauty of its own, showing Rubens' vast power as a
draughtsman.

The question I always asked myself was... HOW DID RUBENS FIX HIS DRAWING?

Had he not fixed them, they would have smudged and the dark charcoal dirties the oil. TODAY we
moderns have spray aerosols. We can spray the drawing with FIXATIVE. But the aerosol cans create a
HAZARDOUS environment for the breathing of artists. The repugnant odor itself is reason not to use
the aerosols. Headaches are common from the mist.

The only solution I knew of is to lie the canvas or panel on the floor, and a FINE MIST SPRAYER filled
with odorless and SAFE liquid is sprayed over the support, landing on the charcoal and FIXING the
grains of dust. But the results were never entirely as successful as the clear FIXED charcoal drawings I
would see in RUBENS’ paintings.

WHAT WAS RUBENS’ METHOD?

It certainly could not have been a studio secret!
I felt it must have been commonly known by all. Yet, I have never seen it described in
any ANCIENT manuscript or any MODERN book.

One day, in July 2009, I came upon a METHOD so simple, it must have been the one
used by RUBENS and others prior to the modern Fixative aerosol spray cans. The
answer came as a flash as one day as I sat looking at a charcoal drawing. Testing my
hypothesis, proved its ease and efficiency.

Here I am happy to share this on my website.
For personal reasons, I have previously shared it only with two valued and trusted
friends.
Now, artists around the globe can discard the hazardous and unsafe aerosol spray
cans.
Teachers in closed studios no longer need to expose their students to toxic spray mists.

- Posted August 8, 2009

THE FOLLOWING SERIES OF PHOTOS
demonstrate the CSO-FIXATIVE METHOD of SAFELY fixing charcoal drawings to a
support. In this case, the drawing is on a gesso covered wood panel.
THE UNFIXED drawing is seen first. The panel is placed flat on a table.
A THIN cloth is placed carefully on top of the drawing --I recommend a thin bed sheet
DO NOT nail the cloth down as it must be removed almost immediately.
A helper is...helpful to keep the cloth taunt.
In this case I used hot Rabbit skin glue. Instead of a squeege..I recommend use of a wide
flat brush. It can be used to douse the cloth and it can spread the glue easily. The bare
hand is also effective and it spreads the glue easily.
Pressure can be applied and it does not disturb the drawing.
It is important to keep the cloth from wrinkling.
Remove the wet cloth as soon as possible. Try not to smudge the wet drawing.
The last photo shows the FIXED drawing.
NOW I KNOW why I would see small round dots in the fixed drawings of the Old
Masters...its the weave of the cloth. - posted 8/8/09

TOPICS OF INTEREST AND IMPORTANCE
TO WORKING ARTISTS -- ON THIS SIDE

COMMENTS POSTED ON VARIOUS ART FORUMS AND
WEBSITES -- WITH MY COMMENTS

ARTISTS FORUMS : Posted 7/30/2010

Recently, an artist wrote me a kind letter in which he encouraged me to join the ART FORUMS. I
explained I would not because, though I do read them, I see many times they are a Forum for
someone , staff or writer, to argue and put down others. I see juvenile behavior and insipid
humor from some of the Forum leaders and from artists. I have read letters from artists who
have been banned by the Forum Leaders , demonstrating a suppression by power of control.
The Forums are private, not Government, not associated with Universities or Certified
Educational Institutions, made of artists like you and I. Some Forum leaders are businessmen
expressing viewpoints promoting their business organizations which causes one to question the
veracity of their advice.

YES! The Forums do serve an important service as a place where artists can exchange
information and learn of new developments in the Art World. I enjoy reading them to see what
some serious artists are thinking and doing. It is a rapidly changing vast world ever since the
Internet made the world instantly accessible on our computers.

I will be the first to say I do NOT know everything about the Oil Painting medium or the Egg
Tempera medium, but I have been steadily researching and learning for the past 50+ years.
Also, I note the FORUM LEADERS are not always fully aware of the facts, nor well informed, not
to mention other motives causing bias, as they give their advice. Some of their advice is
excellent, but not all. We all make mistakes and none of us is error free, much less perfect. My
past and continuing research is done with honesty and integrity as I search for truth. I respond
to all Emails as I have done for the last ten years with artists from all parts of the world. I have
yet to receive a letter from any of the Forum Leaders except for a brief exchange with Virgil
Elliott that I initiated. The exchange refers strictly to the oil and how it is processed. He and I
have exchanged books and I have given him ample and respectful credit for the overall
excellence of his book - except for his brief instructions on the water washing of the oil, which I
told him I know to be ineffective and erroneous. I have saved his letters for reference if needed.

Many times in reading on an Art Forum, comments about CSO, I have wanted to join the
discussion to clarify the various questions and issues. Here, I will now respond to artists who
have written to the various ART FORUMS, or private WEBSITES, in regards to their comments
about my 2000 creation [ CSO] CALCITE SUN OIL, as well as on my new development – CSO
EGG TEMPERA.
The new CSO EGG TEMPERA Medium, of 2009, is the first development/advancement in 500
years of the ancient Cennino Cennini instructions dating from the early 1400’s.

Artists are encouraged to respond to me.
-        Sincerely and respectfully,
Louis R. Velasquez    velapress@aol.com

NOTE: My USE of the various Forum entries is protected by the US Copyright laws allowing
FREE USE for educational purposes. The statements used here are not offered for sale - but
are presented FREE to the general public as an educational service of artistic critique and
criticism for the sole purpose of advancement of knowledge regarding painting mediums and
materials and their uses. Nome of my statements are an attack on the persons named, as truth
is protected by the US Constitution. Also, I am lucky in that my wife is an attorney. If I do criticize
the writings or statements made by any author it is to express my own opinion and to promote a
critical academic environment for readers to analyze and to form their own opinions.

The first entry is from the WETCANVAS ART FORUM.

jalla379 08-06-2009, 01:11 PM I didn't realize that I had gotten so many replies. Thank you all
for your kind responses!
As to your question Dallen about why anyone would use polymerized oil. My reason is that I'm
using it as a substitute for sun thickened oil to make something called cal-stand oil described by
the artist and author Louis Velasquez. When mixed with calicum carbonate and used with an
emulsion it becomes a medium with great handling properties. Although if I had the possibilty of
sun thickening my own oil I would have made something called calcite sun oil also described by
Mr. Velasquez.
LOUIS SAYS: These postings show that an artist DALLEN was uninformed about how
Linseed/Flax oil oxidizes [ dries- cures- hardens]. It also shows that artist JALLA379 is using one
of the alternate mixtures contained in my patent and in my book on Oil Painting with Calcite Sun
Oil. I note that he describes the great handling properties when the instructions in my book are
followed correctly.
No6 Brush. Quote "Oils do not dry by evaporation. The drying of oils is the result of an
oxidative reaction, chemically equivalent to slow, flameless combustion. In this process, a form of
auto oxidation, oxygen attacks the hydrocarbon chain, touching off a series of addition
reactions. As a result, the oil polymerizes, forming long, chain-like molecules. Following the auto
oxidation stage, the oil polymers cross-link: bonds form between neighboring molecules,
resulting in a vast polymer network." So Polymerized Linseed Oil just means linseed oil that's
thickened by starting to 'dry' a little bit... and perfectly safe / compatible with any oil paint.
Regards Tony 08-06-2009, 01:38 PM
LOUIS SAYS: Thank you JALLA379 AND No6BRUSH

LOUIS SAYS: This next entry from WET CANVAS ART FORUM discusses the SUEDE EFFECT
in modern oil paintings.
Georgeoh 02-14-2007, 06:34 PM -- The discussion begins here with Georgeoh.
Paint modifiers, such as aluminum stearate, were first employed in artists' oil paint at the
beginning of the 20th century. Stearates, which are classed among metallic soaps, improve the
stabilization of pigment dispersions in oil paint and continue to be used in this function until now.
One of the problems noticed early on from the use of modifiers was the "suede" appearance of
paint once it dried. This was described by the 20th century artist Hannah Gluck. This and other
changes in artists' materials were observed by Gluck in her work over a period of two decades
and the results of tests performed to eliminate these effects are described in a paper by
Christine Leback Sitwell. Reference Leback Sitwell, Christine. 1990. "Gluck and the Quality of
Artists' Materials: The Suede Effect." Appearance, Opinion, Change: Evaluating the Look of
Paintings. United Kingdom Institute for Conservation of Historic and Artistic Works.
GEORGEOH QUOTES SITWELL: "The pigment to oil ratio varies from pigment to pigment
depending upon the oil absorption characteristics of the particular pigment. This influences the
consistency of the paint. Modern artists' oil colours are formulated to a certain consistency
which enables them to be tubed or packaged satisfactorily. This is achieved through the
pigment to oil ratio as well as by the addition of various modifiers. In previous centuries, the
consistency or 'body' of a paint (consisting of oil and pigment only) was modified by the addition
of either a bodied oil, an oil containing a drier, a stand oil or a sun-thickened oil. The artist could
alter the flow characteristics and the appearance of the paint by using different oils."
SITWELL’S COMMENTS CONTINUE: "The mixing of oil and pigment is called dispersion and is
the process by which the pigment is 'wetted' by the medium. Early methods of dispersion
involved handgrinding the pigment and oil mixture on a marble slab. This method was
superseded by mechanical dispersion which involved mixing the oil and pigment into a paste
and then passing the mixture through a series of rollers. The degree of dispersion in
handground paints was estimated at 20% whereas the modern mechanically dispersed paints
produced 80% dispersion. The modern dispersion methods in conjunction with smaller pigment
size could cause the pigments to agglomerate. As agglomeration is most noticeable on the
surface of the paint layer, it might be another explanation of any change in the surface
appearance."
Georgeoh asks: Have others noticed issues such as the "suede effect" in their paintings or
other problems with the appearance of the oil paint?
Georgeoh 02-15-2007, 01:27 AM, I have read that the addition of even a little calcium
carbonate (chalk) alleviates the problem, but I can't at all vouch for that as I haven't tried it. Do
you remember where you read that? I am doing research on this issue.
Reroberts 02-15-2007, 10:58 AM , This guy is promoting what he calls "Calcite Sun Oil" (http:
//calcitesunoil.com/). He claims that calcium carbonate eliminates the suede effect, and points to
Velazquez and Rembrandt. However, I am very skeptical of his claims.
georgeoh 02-15-2007, 01:02 PM , I doubt any handmade paint will create the "suede effect",
so if handmade paints are included in the claim then it is probably correct, but not for the
reasons they claim. Claims about using mediums to eliminate the suede effect are rather
doubtful.
Einion 02-15-2007, 02:45 PM , But many of us know there are other ways of doing this - that
were used historically - that this doesn't cover, most famously perhaps by the various things
Rembrandt is said to have tried. I hate to say it but I'm not so sure about that, because of the
increased proportion of binder. Or to put it another way, drop the amount of pigment, making a
mix rich(er) in oil and/or resin and the suede effect might be directly avoided.
Georgeoh 02-15-2007, 06:22 PM
Pigment agglomeration, otherwise known as flocculation, is a common occurrence in paint
especially when the critical pigment volume (CPV) is not maintained in the paint film, which is
often the case in paintings. Flocculation occurs most with fine pigment particles where they form
clusters or "flocs" that can disturb the surface of the paint film as it dries.
Einion Do you know if this is verified/agreed upon? I don't know about you but 20% for hand-
mulled paint seems awfully low to me.
Georgeoh This is a reasonable estimate for modern, fine particulate pigments. In practice,
pigment dispersion is difficult to achieve throughout the paint and the forces needed to achieve
it are surprisingly high. Even with the tremendous mechanical forces and polar/nonpolar
dispersing additives in the binder at their disposal, manufacturers still achieve only a limited
dispersion of pigment particles within the paint. Artists armed only with their own hands cannot
expect to achieve even close to what is possible by modern equipment and processes. However,
it is quite possible that artists in previous centuries were able to achieve better dispersions than
artists today using fine pigments (epsecially organic pigments that are largely replacing
inorganic ones today), because they were working with larger particulate pigments, which are
typically easier to disperse.
Einion But many of us know there are other ways of doing this -- that were used historically --
that this doesn't cover, most famously perhaps by the various things Rembrandt is said to have
tried.
Georgeoh Which things do you refer to?
Einion I hate to say it but I'm not so sure about that, because of the increased proportion of
binder. Or to put it another way, drop the amount of pigment, making a mix rich(er) in oil and/or
resin and the suede effect might be directly avoided.
Georgeoh One of the objectives in letdown paint (not paste paints) formulation is critical
pigment volume. This is the ratio between the volume of pigment and binder where the pigment
particles achieve an equilibrium with the binder, helping to prevent flocculation in the paint film.
Flocculation is believed to result in such characteristics as the "suede effect.
LOUIS SAYS: The source of quotation is possibly a quote from SITWELL: " Artists cannot be
aware of the CPV of a particular pigment-binder mixture and so cannot achieve this equilibrium
simply through the use of mediums. It is true that the addition of a medium or binder may
mitigate the effect when a high gloss surface is achieved and the pigment particles "sink in."
NancyMP 07-21-2010, 08:54 PM
I've noticed it in my paintings, if you're talking about high and low gloss, and as Bill points out, it
seems to be common. I go to the Prix de West exhibit frequently (I'll be going again tomorrow!),
and noticed that one of Morgan Weistling's paintings had this effect -- the one of his daughter.
He apparently used a fairly high gloss varnish to try to cover the effect, which didn't help much.
It caused me to view it from an angle. There is a dull place above her right shoulder. This
happens to me when I re-work an area, especially dark areas, which should be not be too thick.
It can't be seen except in person.
LOUIS SAYS:
Georgoh in Feb 2007, began the discussion with citations from SITWELL, as the source for his
facts. NOT FROM HIS OWN EXPERIENCE. He admits he is doing research on the issue of the
suede effect. This means he really does not know much about it, except for what he has read.
He asks if others have the problem. Possibly he is not an active painter. Rroberts mentions my
website and my claim that calcite sun oil will eliminate the suede effect. Rroberts states he is
skeptical. Georgeoh agrees , calling it ‘rather doubtful’. Note that neither georgeoh nor rroberts
have tried CSO [ calcite sun oil] but give their opinions anyway. Einion in Feb 2007, then brings
up Rembrandt’s paint. Georgeoh, asks einion to clarify. Einion does not write back. Georgeoh
apparently does not know much about what science has published regarding Rembrandt’s use
of calcium carbonate chalk and use of egg to create the ‘paint quality’ we see in the Rembrandt
paintings. But georgeoh, [who later in early 2009], had a chance to catch up with ‘Calcite sun oil’
and became a spokes person in some degree for Naturalpigment paint company who in 2009
issued their two VELASQUEZ painting mediums. These two are close—but not equal in high
quality of my formula of CALCITE SUN OIL because CSO uses the superior oil of the Old
Masters.. Naturalpigments uses an INDUSTRIALLY PROCESSED bodied alkali refined linseed
oil, mixed with varying amounts of silica, calcium carbonate and bentonite. There is no good
reason for adding Bentonite, an expansive hygroscopic clay, to a paint medium . Bentonite
swells when in contact with moisture and Linseed oil for its entire existence absorbs oxygen-
including oxygen with moisture in humid areas. Bentonite is an industrial water leak sealant. I am
unaware of any evidence the Old Masters added Bentonite to their oil paint. Correct me if I am
wrong, please. NancyMp ends the discussion with her comments that the suede effect is very
real- even after a couple of other artists do not notice it because admit they thought any visual
changes in the paint surface was just an acceptable condition of the oil medium. Their
inexperience is why they can’t notice it. Someone ask georgeoh, to what temperature the
Naturalpigment industrial linseed oil is heated to, to achieve its BODIED condition. I remind
readers that the linseed oil will begin decomposition at 230C. and the normal artist’s linseed
stand oil [ bodied oil] is heated to 300C, far past that safe temperature. Ask why they use it.

LOUIS SAYS: The following subject on the AMIEN ART FORUM began on January 15,2009,
and had several postings. Each posting teaches us something important or exposes the posting
person as being unknowledgeable or of having bias. Therefore, I will break up the sequence in
my responses. This line began with the question by OTOOBOOBOO
Ottobooboo 01-15-2009: The veracity of Louis R. Velasquez's claims .
Greetings to the AMIEN Staff: I just spent a good deal of time on Mr. Velasquez's site. I am
intrigued with his desire to simply sell me his book rather than bottles of expensive medium that I
will need for the rest of my painting career. But, economics aside, I am curious about the
veracity of his historical and conservation claims. Any thoughts about this? I thought that his
comparison of Flemish and Italian painting quality was especially interesting. These quality
claims are based on materials used and not drawing or painting ability, so I hope that this
discussion will conform appropriately to the intent of this site. Sincerely, Chad
AMIEN SAID: ottobooboo, We have read through the Velasquez site, too. We cannot comment
on the material "quality" of the products because we have no first-hand experience with them --
though we are familiar enough with all the variations of these materials to note that there is
nothing new about them. Of course, you know that we also do not comment on aesthetics here,
either, so it will be up to you to decide whether you prefer Flemish or Italian painting methods
and materials and the results from using them.
LOUIS SAYS: The CSO ( Calcite Sun Oil) mixture is exactly that ... nothing new!!... as I have
clearly stated on my website and book. I clearly state that my creation of CSO is based on my
research into the scientific studies published regarding Rembrandt (1988) and Velazquez
(1992). What I did- and what none of the AMIEN staff members did —was recreate a new and
workable measured GRINDING OIL mixture for contemporary artists. For this recreation to be
effective OPTIMALLY, it requires the superior Flax-Linseed Oil of the Old Masters, fully
described in my book and FREE on my website. CSO is NOT made with the Alkali Refined
INDUSTRIAL Art Store linseed oil, or, linseed stand oil, sold everywhere. In 2006 I was granted a
Patent by the US Government. Approval of a Patent is no easy task and is important validation
of the VALUE and UNIQUENESS of the CSO.
AMIEN SAID: A significant problem with making scientific claims such as "studies show ..." and
so on, is that we then have to cite the study. It doesn't do anyone much good to have to buy
another reference (a book) to get to a bibliography which might cite an original reference. We
much prefer to have footnotes that lead directly to the original source, which ought to be in
some sort of publication that has been reviewed by peers. This is not to say we doubt claims
made in this way, but to point out that we would much prefer to see direct scientific support for
the claims.
LOUIS SAYS: I understand AMIEN’S comment which is then tempered with, “ we would much
prefer”. Yes, citations can be important so one can then seek the source. However, there is so
much COMMON information that supports everything I have written, that to add endless citations
for everything I write would be pointless, boring, and would prove nothing. One problem I noted
from a previous writer was: “ I’ve been doing research on CSO and I can’t find anything on it”. I
responded by saying that one cannot find previous writings on something that is NEW. - Also,
Citations have the weakness of continuing erroneous information, such as those who quote
Maroger’s book or Doerner’s book. Much in those books has been proven to be false. For
decades, Francisco Pacheco was listed in every Important Encyclopedia as having died in 1649,
the year of the publication of his book. NEW scholarship found his death certificate with the date
of death as 1645. His book was posthumously published.
AMIEN SAYS: Rembrandt and the van Eycks have been subject to modern scientific scrutiny for
decades. There is plenty of published information about their materials, if not their methods of
painting (methods of painting are dealt with by art historians and critics). Nothing we have ever
seen suggests that there was any kind of "Secrets of the Old Masters." These artists and their
contemporaries simply used the materials they had in skillful and inventive ways.
LOUIS SAYS: AMIEN is in error in saying that ‘ methods of painting are dealt with by art
historians and critics”. That extraordinarily erroneous statement exposes this leadership staff as
persons who may be painters but display an ignorance about the oil painting medium. I will say
that an active oil painter can learn and continue to learn, ONLY TWO THINGS, one is to learn as
much as possible about the MATERIALS of the medium, and the other is to learn as much as
possible about the various METHODS of applying the paint. Goodness what an error! ALSO.
there …IS A SECRET … the Old Masters had that we moderns have lost since the 19th century:
THAT SECRET IS: The superior flax/linseed oil the Old Masters is superior in everyway to the
industrial alkali refined mass produced linseed oil sold to artists since the Industrial Revolution
of the 19th century. The proof is in the 500 year old Flemish paintings who had no access to
modern INDUSTRIAL linseed oil.
AMIEN SAID: As for the matter of special oils made in the studio as opposed to purchased in a
store, you can make your own sun thickened oil from cold-pressed linseed oil -- there are a few
very simple recipes out there, and we have made it ourselves -- and if you wish you can
experiment with adding your own chalk. You can use the very fine Champagne chalk, a kaolin
chalk, or artificially precipitated chalk, depending on your preference. Or, you can just buy some
sun thickened linseed oil and add the chalk.
LOUIS SAYS: AMIEN is giving very poor advice here! What they wrote is INCOMPLETE
ADVICE. There is NO MENTION in their ADVICE that the oil must be first CLEANSED of the
damaging mucilage. NOR do they even attempt to voice an opinion on HOW to cleanse the oil
before beginning the SUN THICKENING process. They REFER the readers to, “there are a few
very simple recipes out there” ( what happened to their love of CITATIONS?). As to AMIENS
advice to buy your own Sun Thickened oil, they do not tell the reader that ALL SUN THICKENED
OILS are NOT the same. Grumbacher sells an inexpensive SUN THICKENED oil. It is merely
Alkali Refined Linseed oil that was allegedly exposed to the sun, but do not offer any details as
to how many days.. The label info about it being Alkali Refined is in very small letters on the
back label. Their oil is a slow drying oil. I advise artists to get informed FULLY and to be
cautious of what they buy. AMIEN is not helping in this regard.
AMIEN SAID: 01-17-09
(Louis says: the long posting was cut short to the issue at hand – to read the entire posting, go
to the Amien website).
AMIEN responded to OTTOBOOBOO: If you want to make your own sun-thickened oil, you must
spread it out in a layer, in an enameled steel tray (no bare metal, no plastic) to a depth of about
2.5 cm or less. It's going to partially oxidize and polymerize anyway -- that's the thickening
process at work. We have done this, and put a glass plate over the tray to keep dust from
collecting in the oil but leaving a gap for air to have access. You should stir the oil daily -- you
will begin to notice the thickening eventually, but it's hard to say when because of environmental
and exposure differences among locations. - The AMIEN Staff
LOUIS SAYS: As In my previous comment, AMEIN gives no advice and in fact leads us to
believe that they have no awareness that the oil must first be cleansed of mucilage before it is
sun thickened. IF in the future AMEIN staff were to suggest that the oil can be cleansed by
WATER WASHING, as is recorded in Virgil Elliott’s book, I will respond here to prove the
ineffectiveness of that method and the error of the instructions as given in Mr. Elliotts book..
REROBERTS , 02-08-10
Oil and chalk "putty" was used by many artists, including Rembrandt and Velazquez.. As for
qualitative differences between styles of painting, broad claims are simply broad claims. That
one would try to patent such a simple process as making an oil/chalk medium strikes me as silly,
like trying to patent flour/water for bread making.
LOUIS SAYS: As I have expressed in my books and website, the CSO mixture ( CALCITE SUN
OIL) is based on the scientific studies published on Rembrandt and Velazquez. Regarding my
Patent of CSO, REROBERTS states it “strikes me as silly, like trying to patent flour/water for
bread making.”. Perhaps REROBERTS eats bread made of flour and water and is satisfied.
Even in bread making, there are numerous worldwide recipes , ancient and modern , each one
different from the other, providing a variety of culinary results. In my home we love Sourdough
bread, and Multigrain breads, Rye, and then there is Nan bread and of course the Mexican
bread called a Tortilla. REROBERTS shows his lack of knowledge and his inexperience with
facts regarding how PATENTS are reviewed and either approved or denied, by his statement,
but if he wishes to write to me, I will educate him for free. It is for artists like him that I have
written my book and conducted my research. IGNORANCE is a terrible thing to live with or to
paint with. His website states he is a self-taught artist since early teens, explored oil painting,
including hand weaving, tapestry design, woodcut, calligraphy and egg tempera and other
media ,plus more than twenty years a tattoo artist. In 2005, he began to focus on oil painting. I
wish him well.
REROBERTS, 02-08-10 ( continued)
For anyone interested in making a workable oil/chalk medium, as well as processing oils one's
self, it is well worth reading about the empirical and well-documented research being done by
Tad Spurgeon : http://www.tadspurgeon.com
LOUIS SAYS: For RE Roberts and anyone interested in historical fact: I sent Tad a copy of my
book in 2004. At that time Tad’s website had no instruction, nor awareness, nor displayed any
practical experience or knowledge of the mixing of Calcium Carbonate powders with oil as was
done by Rembrandt, Velazquez and others. More so, his website expressed no awareness of
how to process and create the TRUE superior oil of the Old Masters as I had published this
information in my book of 2004. On Tad’s own website, he states he did not begin until 2006, to
experiment with the mixtures of calcium carbonate powders and oil, until, as he says, “ it was
time to try green eggs and ham”. I understand the motive for Tad’s reluctance to write about my
website on his own website, but academically it is an error on his part as history will
demonstrate. I will say that I enjoy reading Tad’s website, though I find many errors of technical
information on it. I have been continuously at this research , study, and experimentation since
2000, and know many unanswered questions remain.
MJGRUMP, 06-08-10 , I have spent a lot of time trying out Louis's ideas and Tad Spurgeon's
(mentioned above). I think Tad's approach is much more thorough, incredibly well researched
and certainly less dogmatic. He's also not pushing a book, although he is writing one, which I
eagerly await.
LOUIS SAYS: I hope MJGRUMP learned some things from my site. It has 12 web pages of FREE
information to help artists better understand the obstacles they face with INDUSTRIAL linseed oil
and the various false formula mixtures others write about. According to him, I am PUSHING a
book...but..Tad will be PUBLISHING a book. To MJGRUMP, I point out the 14 REVIEWS of my
book on Amazon, as well as the TESTIMONIALS page on my website. These artists did not think
I was PUSHING a book. In fact, my website now is showing another book and 2 DVD’S. Over the
years, I was asked many times to make a DVD to help understanding the CSO /EMULSIONS
method and materials.
MJGRUMP ( continued): The piece of Louis's process that worried me was his use of an egg-
white (in the form of glair) and oil emulsion as an oil out.[ PLEASE SEE UPDATE ON GLAIR ON
THIS PAGE TO YOUR LEFT] I modified that to a whole egg/oil emulsion and put it out there for
comment elsewhere on this site. It seems OK. The thing that I don't like about using an emulsion
is that it remains sticky for quite some time--far longer than an oil out made with sun-thickened
oil and a small amount of solvent.
LOUIS SAYS: Of course you are experiencing those problems you mention. i.e. ‘ sticky’.. I
experimented with the YOLK, the WHOLE EGG, and the GLAIR. And did so for good reasons—
to avoid the pitfalls you encountered—I use the white of the egg to make the emulsion ( egg
white frothed, it is called GLAIR- it is an ancient archival artist’s paint binder). Had you followed
my dogmatic instructions, you would not have had the problems because use of the EGG YOLK
( or the whole egg) introduces a the YOLK, which is a slow drying ingredient because the YOLK
is heavy with SLOW CURING egg oil.. My book explains all this in great detail. DOGMATIC?
YES! For a good reason. You need not reinvent the WHEEL. If you write to me I will happily help
you for FREE.
MJGRUMP ( continued): (The reason I am interested in using an emulsion rather than thinned
oil is that I am trying to avoid the use of solvents as I have respiratory issues.)
LOUIS SAYS: In the past I tried to explain to Tad the need for the two emulsions I created. I note
that Tad uses the term COUCH. This is an incorrect term in painting. A COUCH is a sofa- a
piece of furniture. The correct term is from the French- COUCHE—which means a film of oil or
paint. For MJGRUMP’s information, Tad continues to add all manner of ingredients to his
various formula mixtures. Some are not archival such as BURNT PLATE OIL.
I too will purchase Tad’s book when it gets published. I wish to see if my book will be included in
his Bibliography. I want to see if the academic debt he owes me will be acknowledged.
AMIEN, 06-09-10, mjgrump, We agree with you. This is the kind of "oil-out" that is
unnecessarily complicated and could cause later trouble. Do you know you can paint using oil
paints with almost no solvents? This subject is pretty thoroughly discussed elsewhere on this
site. The AMIEN Staff
LOUIS SAYS: UNNECESSARILY COMPLICATED? Not even.!! Rembrant and Velazquez both
included a protein in their paint. I have proven by studio duplication, that it is the protein additive
that allowed Rembrandt to apply thick impasto of flowing viscous oil paint mixed with chalk, so it
would NOT WRINKLE, drip nor run , NOR lose any definition of his brush hair marks and palette
knife marks. My book explains this issue in detail as well as a full explanation of the importance
of the emulsion for micro-fine detailed work as seen in Jan Brughel and Jan Van Eyck -- you
cannot get them with resins. In his own book, Daniel V. Thompson reached the same
understanding of use of a ‘vicid’ oil to get the micro-fine lines—but Daniel did not know about
nor understand the use of the EMULSION..and more important..He did not know ITS
IMPORTANT METHOD OF APPLICATION. This very precious information is in my book. AMIEN’S
statement is one of ignorance .
NICKIJ, July 2010; (Louis says: I shortened this very long post to the basic issues- thank you)
I've been experimenting with the home-made sun-thickened oil and chalk medium and enjoying it
quite a lot. Thus far, my experiments have been small, single layer studies, and I like the effects
the medium allows. My own, self-refined oil is considerably thinner in its flowing properties than
any commercial sun-thickened oils I've used, but the paint dries to the touch in about 24 hours,
even in thickish strokes. Of course, it is summer and relatively warm.
LOUIS SAYS: I do not know if you obtained your knowledge from my work. However,I am happy
the method is working for you. You will know the importance of that superior oil and what it will
do for your quality of painting. It is an ancient archival method. I am happy to be of help to
others through my books and website.
NICKIJ ( continued): My question regards the properties of the final paint layer. Even with
relatively minor additions of chalk or marble powder putty (or even "syrup"), the paint film
produced is a dead matte.
LOUIS SAYS: I can guess the cause of your MATTE finish. It is NOT THE MEDIUM mixture of oil
and chalk. It almost certainly is that you are painting on an absorbent or partially absorbent
ground. The Old Masters showed us the importance of painting with oils,   on a fully sealed non
absorbent ground. One frequently reads the advice of teachers saying the ground MUST be
partially absorbent—so the oil paint will have something to attach itself to. NOT TRUE. A
mechanical lock is not required for viscous oil paint to adhere permanently.
NICKIJ ( continued): As a former illustrator I love a matte finish because it helps match colors
and encourages a lighter, better-reproducing palette, but I understand that at least for oils it
implies a weaker paint film, regardless of whether the surface is later given a gloss finish by
varnishing.
LOUIS SAYS: You are completely correct. A healthy oil paint film is intrinsically shiny, NOT
MATTE. This IS OIL PAINT and oil is shiny. A matte condition indicates insufficient binder and a
fragile paint film, caused either by incorrect making of the paint or an absorbent ground sucking
the oil out of the paint.
NICKIJ ( continued): Is this necessarily the case, ie, does the addition of an oil putty medium
necessarily weaken the paint film, or does it necessarily have to be matte?
LOUIS SAYS: Of course not. The mixture of chalk with the superior oil of the Old Masters is
easily mixed together and creates a hard durable archival shiny paint film as Rembrandt’s paint
proves.
NICKIJ ( continued): I would be adding more medium to any subsequent paint layers, making
them "fatter", but they might still be matte. Should I tone down the powder/oil balance in favor of
stronger oil amounts and hope it reinforces the lower layers, or just keep going with what works
for the types of textural manipulations I'm interested in doing?
LOUIS SAYS: Please write to me. Ill give you all the instruction FREE.
LOUIS SAYS: TO MJGRUMP. This person posted the following ( see above for the complete
post) regarding Tad Spurgeon’s website= ) “… I think Tad's approach is much more thorough,
incredibly well researched …" Well, MJGRUMP, I submit to you the following errors in his
research.
Mr. SPURGEON' SAYS, FROM HIS WEBSITE :My first experience refining linseed oil followed
the guidelines in Eastlake and Merrifield, washing the oil using water, sand, and salt.
LOUIS SAYS: Neither Eastlake nor Merrifield were Old Masters. They were 19th century re-
constructionists. The water, sand, salt method is a waste of time and good oil.
Mr. SPURGEON CONTINUES: It took six washings of one week each to remove all the fatty
acid break.
LOUIS SAYS: The word, "break" is not a scientific term. It is an industrial term, describing the
various flocculated ingredients that result after the caustic chemical, Sodium Hydroxide LYE
chemical was mixed with the heat expressed flax oil. If oil and water are mixed and shaken, a
colloid forms, and this colloid is sponged full of air. It is not the fatty acids..
Mr. SPURGEON CONTINUES: The washing was done using the Allback oil from Sweden. This
is a cold-pressed and organic oil with a compelling story behind it: see the Allback website for
more details. Before and after photo above, lighter is after.
LOUIS SAYS: Allback flax-linseed oil is an industrial oil processed for painting houses. There is
much more to say about this oil and my website has sufficent commentary on it.
Mr. SPURGEON CONTINUES: For more on this process, which did result in a much quicker
drying oil which yellowed to about the level of refined walnut oil, even less after aging a year in
the light, see refining section below.
LOUIS SAYS: Mr. Spurgeon's site shows photos of this Allback oil before and after he
processed it with the Eastlake 19th century method. Mr. Spurgeon's comment is in error
because he describes the oil as "aging"...and the photo clearly shows the oil is in a sealed
capped jar. He is in error because Flax linseed oil does not AGE when in a sealed air free
container. Without oxygen, the oil remains in a state of equilibrium and cannot oxidize { dry-
cure- age).
Mr. SPURGEON CONTINUES: This process should not to be confused with the various other,
quicker processes -- breadcrumbs, lavender, alcohol, et al -- simply designed to clear an
unprocessed oil, typically found now in a health food store. All of these methods have their
origin in the older authors, from De Mayerne to Pacheco.
LOUIS SAYS: Mr. Spurgeon demonstrates ignorance regarding the proven archival method of
Francisco Pacheco who was Velazquez' teacher . To my knowledge - Pacheco's manuscript of
1649 is only published in its entirity in Spanish. I have written about it extensively in my book.
Over 30 years ago I read the small book in English that contained excerpts from Pacheco's
book, along with excerpts from several other Treatises of 17th century Spanish authors on
painting. The English speaking author INTERPRETS Pacheco's words, while Pacheco's
ORIGINAL manuscript is written in HIS OWN WORDS. In 2008, I was in Madrid and purchased
Pacheco's ORIGINAL full Treatise which is over 700 pages. I am fluent in Spanish reading and
speech. Pacheco's method takes 15 days from start to completion, and does not require any of
the laborious methodology of reconstructionist Sir Eastlake- or reconstructionist Mr.Spurgeon. In
addition, with Pacheco's simple method, hardly any of the oil is lost.
Mr. SPURGEON CONTINUES: And while my experience refining this type of oil has been very
positive, I don't think these quick and simple methods are enough.
LOUIS SAYS: Mr. Spurgeon's comment ignores the historical record of Pacheco's method, and
the proof seen in the paintings of Velazquez today.
MR. SPURGEON CONTINUES: When the fatty acids remain in the oil they always present the
danger of long term yellowing through the inevitable by-products of oxidation. Simply buying the
highest quality oil is not enough, it still must be refined correctly.
LOUIS SAYS: Peter Paul Rubens did not try to remove the fatty acids from his oil. Mr.
Spurgeon's error is in trying to remove the strength and durability of the oil, which are the fatty
acids of the miracle that flax oil is. The Industrialists have denuded the Linseed Flax oil by
caustic lye cleansing, and Mr. Spurgeon erroneously thinks and attempts to do the same. I
stress that one MUST NOT REMOVE the fatty acids from the oil. Science has identified two of
the many fatty acids in the flax oil as being the cause of its yellow color. But the yellow color of
the oil is ONLY NOTICIBLE when the oil IS FRESH PRESSED and has NOT been sun bleached
by the UV rays of the sun....OR ... when the flax oil has been bleached by the sun and is seen in
CONCENTRATION. i.e. in a 4 inch wide jar. IN CONCENTRATION, the sun bleached oil has a
very pale yellowish hue --but that same SUN BLEACHED OIL applied thinly to a pure white
surface has NO COLOR AT ALL. It is completely clear and colorless. This thinness is how it is
used in oil painting. In my tests, the ONLY oil that I have not been able to bleach , with even 40
days of direct sunlight , is BURNT PLATE OIL. BPO is decomposed burnt oil , and will forever
be burnt. Peter Paul Rubens' paintings are amongst the very best preserved after almost 400
years. Rubens wrote a letter stating that if his paintings were kept in DARKNESS, his oil
paintings would become TINGED with yellow. OBVIOUSLY- his oil contained all the FATTY
ACIDS that Mr. Spurgeon thinks must be removed. Rubens wrote that the solution was simple.
Expose the painting to daylight and the daylight re-bleaches the thin layer of linseed flax oil.
Rubens' letter is PROOF THAT HE DID NOT EVEN TRY TO REMOVE THE FATTY ACIDS from
the oil. Neither should you.

Louis says: This next post is one of a great number of postings regarding Maroger’s Medium.
Suffice to say that Meroger’s MEGUILP is not archival. Here is the post by Mr. VanRyswyk, a
resident of Amsterdam, The Netherlands. I am happy to say I consider him a friend and
furthermore, I believe his website is one of the finest—if not THE FINEST—of all on the web. In
addition, Mr. Van Ryswyk is a fabulous artist himself and speaks of materials and methods he
personally knows and has used.
See his site at: http://www.flickr.com/photos/nightf3v3r/sets/532828/
and you can visit his artwork at: www.dannyvanryswyk.com
Danny van Ryswyk 07-27-2008, 06:26 AM
Maroger was wrong about many things, and his so-called claimed formula's used by Rembrandt
and Van Eyck where just plain wrong. Recent studies have shown that Rembrandt used chalk
and egg in his paint, Valesquez used great amounts of chalk in his paint, Maroger could not
identify what it was that Velasquez used and thought it was wax. I believe there is no other
medium known that has some many devastating reports among conservators as his mastic-
black oil medium. It browns badly and is almost impossible to clean, due to the very fragile
nature of the soft resin. A stronger variant of the Maroger medium (the mastic/black oil) was the
secret Robertson medium. After Robertson's death his secret became known as it was a mixture
of Maroger and copal, which seems to strengthen the fragile paint film. If you want to paint more
in an impasto style with the materials found in the paint films of Rembrandt and Velasquez,
check out the book of Louis Velasquez, he puts you on the right track with simple and save
materials that have been actually used by the old masters, and not in Maroger's mind. The book
is a real eye-opener, and I highly recommend it. See; http://www.calcitesunoil.com

LOUIS SAYS: This next entry is from Mr. Tad Spurgeon’s website: It is self explanatory:
MR. SPURGEON’S WEBSITE STATES: The National Gallery publication "Rembrandt: Art in the
Making" put an end to all arcane materials exploration. The technical research in this book
suggests that Rembrandt worked with natural chalk and oil. After a certain period of resistance, I
had to try it. Starting in 2007, this made my life solvent-free, and opened up a whole new world
of ideas and possibilities based on the interaction of two simple materials -- chalk and oil.
It has long been known that Velasquez used a medium composed of sun oil and ground calcite.
In reading various publications of the National Gallery, but especially their book "Rembrandt: Art
in the Making", it became clear that Rembrandt often used a similar medium based on a
somewhat thickened oil and chalk. How these mediums were incorporated into handmade paint
historically remains unknown. I began to experiment in early 2007 making a putty that could be
mixed with commercial paint and alter its characteristics to be less slippery and more adhesive.
This proved to be a big technical plus for many reasons which are detailed below.
Developments with the medium have simply gone on, all paintings on this website since 2007
were made with variations of the putty medium.
Reading all this for the first time, I found myself also feeling challenged. I had spent almost six
years navigating the labyrinth of older sources and materials. Having figured out how to make
amber varnish, copal varnish, sandarac varnish, and all kinds of egg emulsion mediums with
them, having worked with Roberson's medium and done a few studies in the mastic gel
mediums, I was attached to what I had learned. Was it all wrong? More cogently, was it all totally
unnecessary? A few uncomfortable weeks after reading the Rembrandt book in the Art in the
Making series, I decided I had to give the other side of the coin a fair trial. It was time to try
green eggs and ham. So, beginning in early in 2007, I worked on two things: how to make a
successful all oil medium with the few traditional additives, and how to refine linseed oil so that it
dry quickly and not yellow. At this point, in 2008, I'm in the process of putting those two lines of
inquiry together.
LOUIS SAYS: As I stated before; I sent Tad a copy of my book in 2004, as I sent copies to
several other artists also on that date. The book he mentions , “ Rembrandt: Art in the making
was RE-ISSUED in 2006, and since he began his studies of CSO, it may be the edition he has
referred to. I purchased the original 1988 first edition, in 1992 when on a trip to Holland.

LOUIS SAYS: As of July 2010, I have developed NEW and EXCITING and ADVANCED
methods for the refinement and processing of the superior oil of the OLD MASTERS.. I will wait
to publish my new developments because there are several artist/authors with websites who DO
NOT ADMIT nor give proper academic credit for the FACTS they have learned from my site
and/or books AND THEN REPORT THEM ON THEIR SITE ..or ..other forums... AS IF IT WERE
THEIR OWN. This is considered PLAGIARISM in any academic environment. I apologize to
those dedicated artists for temporarily withholding this new information.

END OF PAGE

copyright Louis R. Velasquez
2000-2015

TABLE OF CONTENTS

1. Forget "FAT ON LEAN"
2. ART FORUM COMMENTS AND RESPONSES
3. MAURICE GARSON PAINTS WITH CSO
4. A SAFE METHOD OF FIXATIVE FOR CHARCOAL DRAWINGS
5. GLAIR: DISTILLED EGG WHITE, Archival and ancient paint binder
6. MAROGER'S MEDIUM [ His several failed mediums]

GLAIR
This ancient word means " CLEAR", as the clear of an egg, vs, the yellow Yolk.

My reserach and tests show glair to be the finest and most important part of the egg
for addmixtures to linseed oil for use in Oil Painting.

Modern science finds egg in Rubens', Rembrandt's and Velazquez' paint.
BUT THETY CANNOT YET DETERMINE IF IT IS
The glair
The yolk
or a mixture of both.

My tests prove it is the GLAIR that is the ideal part. My book gives all the facts and
results of my testing.
Here is an academic essay written by a Greek Scholar PhD. on the subject of GLAIR

Dear friends
A Dutch artist sent me thus excellent research paper on the subject
of medieval illumination, With focus on binders, and materials..it
deals strongly with egg white glair.... Glair, is used of course in the
CSO METHODS
EXCELLENT! Don't be fooled by the first paragraph in GREEK

cut and paste to your browser

http://revistadehistoriadaarte.files.
wordpress.com/2011/09/art08.pdf