Stefan C.

Arteni and Myriam Sanchez-Posada de Arteni

Materials of the Artist, the survival of traditional

grounding and priming methods for oil painting

7thth Triennial Meeting,

ICOM Committee for Conservation, Copenhagen, 1984,
Section 11: History and theory of restoration
(Coordinator: H. Althöfer, Restaurierungszentrum der
Landeshauptstadt Düsseldorf)

SolInvictus Press 2018

 Derick Baegert, Saint Luke Painting the Virgin Mary
http://3.bp.blogspot.com/-
tx9U8qsHQO8/TZNQhM01NbI/AAAAAAAAlXw/WQ9ODuVbpaQ/s1
600/m%2BDerick%2BBaegert%2Bca.%2B1440%2B%25E2%2580
%2593%2B1515%2BSaint%2BLuke%2BPainting%2Bthe%2BVirgin
%2BMary%2Bc%2B1485%2B%25282%2529.jpg
 De Mayerne’s watercolour sketch of a priming knife,
Sloane MS 2052, f. 5r
http://sarahjbiggs.typepad.com/.a/6a013488b5399e970c01a73
dedfe6c970d-500wi
 Caterina van Hemessen, Self Portrait
http://www.wga.hu/art/h/hemessen/caterina/selfport.jpg
 Maerten Pietersz Deym, Self Portrait with Easel and Sitter
https://www.lempertz.com/uploads/tx_lempertzproject/Lempertz_95
7_1629_Old_Masters_Maerten_Pietersz_Deym_SELF_PORTRAIT
_WITH_EASEL.jpg
 Isaac Claesz. van Swanenburg, Self Portrait
https://upload.wikimedia.org/wikipedia/commons/6/67/Isaac_Claesz
._van_Swanenburg_-_Self-Portrait_-_WGA21987.jpg
 Sofonisba Anguissola,
Self Portrait Painting the Virgin
http://www.flickr.com/photos/24364447@N05/8019675543/sizes/l/
in/photostream/
 Nicolas Regnier, Self Portrait with a Portrait on an Easel
https://upload.wikimedia.org/wikipedia/commons/1/1b/Self-
Portrait_with_a_Portrait_on_an_Easel_1623-4_Nicolas_Regnier.jpg
 Artemisia Gentileschi, Self Portrait as the Allegory of Painting
http://www.flickr.com/photos/renzodionigi/4211268744/sizes/o/in/photolist-7q8RtN-ecZWJG-
fDkV9h-9ztqwe-9FE2TS-9Jjs59-e2xd93-bV9Zgd-fMmRGr-fvXabG-e9TYuw-bVr7eQ-9GnSea-
bzcYUY-avgyFd-9bBudZ-9MYmZL-cBrdGd-aaSXaC-7BdEdb-cHiucE-axV2jh-bCh7w5-cDqzSu-
cHQZas-8yGZ6a-a3um2X-aPkFdn-fjBHJe-82WUSD-bnGgr8-82WUGp-ag5T9a-84GsqD-bsRMC8-
8NEN6s-bYykjA-dd9Ce2-b3yoKi-beq4nV-ar9bpg-b3yoHr-ceUWiw-7EJc4n-bcZghn-awwMt3-
8PJWFx-dJH8u4-8LEXvF-caG2sh-dG83hV/
 Jusepe Martinez, Self Portrait Painting his Father
https://upload.wikimedia.org/wikipedia/commons/f/fc/Jusepe_Mart
%C3%ADnez_Lurbe_-
_Autorretrato_pintando_a_su_padre_Daniel_Mart%C3%ADnez.jp
g
 Giulio Quaglio I, Self Portrait of the Artist Painting his Wife
(inscribed GIVLIO QVAGLIO EI QVI SI FE D'ANI VENTISETTE
SVA FIGVRA E PROVO PVR CON L'OMBRA DI PITVRA
FERMAR' L'OMBRA FVGACE CHE LVOM E)
http://www.sothebys.com/content/dam/stb/lots/N08/N08953/050N
08953_6589P.jpg
 Bartholomeus van der Helst, Portrait of Paulus Potter
http://www.flickr.com/photos/elsybunny/9575271375/sizes/o/in/photolist-fA8LzM-9jvvBx-fD5JFi-
g3QAK6-9jDwrc-arqPzN-fXyaJE-g243vx-cB6Eym-f2QxH7-cAm5J5-cAm4TA-fM9i14-7y5WF9-
7y6cn1-7y1wWr-7y59GW-7y15sr-7y5Cfh-c8uNTJ-dbLkXi-8dgE2J-brP2We-9dD3c3-c8uJWm-
dBiiWW-ekgvja-8NfDTE-fzjG1o-bgz7w8-fz5nVt-fz5o9a-avWQNJ-gUwV3s/
 Judith Leyster, Self Portrait
http://www.the-athenaeum.org/art/display_image.php?id=360428
 Frans van Mieris the Elder, Self Portrait
http://www.the-athenaeum.org/art/full.php?ID=157905
 Pedro de Moya, Self Portrait
https://upload.wikimedia.org/wikipedia/commons/6/66/Moya-
pintor.jpg
 Nicolaes Maes, Self Portrait
https://upload.wikimedia.org/wikipedia/commons/3/34/Self_portrait,
_by_Nicolaes_Maes.jpg
 Updates on materials and techniques (June 8, 2018)
technologia artis 3
Painting on Canvas. The Technology of Italian Painting of
the17th and 18th Century. The System of Ground Layers.
Mojmír Hamsík
http://www.technologiaartis.org/a_3malba-platno-technika.html
…The expressly chiaroscuro concept of the picture of St. Jerome by
Jusepe de Ribera of the year 1646 (National Gallery) is based on a dark
brown ground layer made of a rough-grained heterogenic mixture and
applied in a relatively thick coat… The dark brown ground is applied to
a canvas of the net type…

…The subdueing of the undesirable effect of dark grounds by

a continuous grey layer suited painting, it seems, for which certain Neo-
Classical trends are typical. We can find a two layered ground of this type
e.g. in the technique of the picture by Simon Vouet, The Suicide of
Lucretia, a work whose relationship to the art of Guido Rent was shown at
an exibition in the National Gallery in Prague arranged by Dr. Ladislav
Daniel and called Reniana. A similar type of ground but with a black lower
layer was used by Nicolas Poussin, whose influence on the painting of
Giulio Carpioni can be traced also in this technical detail, as shown by the
analysis of four pictures by Carpioni in the Prague National Gallery. The
relatively light-grey second layer of the ground makes a more intensive
colour scheme possible and gives the picture considerable luminosity…

…In Neapolitan painting of the High Baroque style of the second half of
the 17th century, as represented by Lucca Giordano, a further change of
brushwork took place. Typical of the loose concept are long brushstrokes
that do not hide the marks of the brush. Such a concept was revealed on
an X-ray picture of St. Sebastian, belonging to the National Gallery,
originally attributed to Ribera. Dr. Ladislav Daniel is convinced that it is the
work of Lucca Giordano. The optical base of this picture is traditional:
a dark brown ground on netting…
 Simon Vouet, The Suicide of Lucretia
https://www.flickr.com/photos/havala/4235259052/in/photostream/
 Giulio Carpioni, Burial of Adonis
https://www.flickr.com/photos/havala/4235267990/
…The ground is always coloured in the entire material, in a broad range
of warm tones from ochre yellow to dark brown and almost black colour…

…An admixture of lead white was indeed found in the laboratory in

a strikingly large number of grounds, although it does not show in the
tints. The typical colour of the ground layer of 17th century Italian painting
in our sample was deep brown, found in 45 %, a red to red-brown ground
was found only in 19 %, a smaller share. The rest was formed of relatively
light, ochre yellow grounds and, on the other hand, extreme dark almost
black shades as well as a combination of two or more layers of different
tone. The most frequent of the two layered grounds were made up of
a combination of grey at the top and brown or red at the bottom. An
exceptional find was a red intermediate layer placed between two brown
coats. In the technique of panel painting, which is rather occasional,
gesso with an admixture of chalk continued to the early 17th century. Light
yellowish grounds could be localized to northern Italy and Venice, very
dark ones were found in the Naples region. The mixture of yellow and
brown ochres was often accompanied by an admixture of gypsum and
chalk...

…In 18th century painting there was a predominance of a red ground of

variously intense shades, found in 54 %. After the middle of the century
the colour turned to bright orange tones especially in the region of Venice
(Gasparo Diziani, Francesco Fontebasso). In the 18th century
occasionally a light, yellowish ground of a mixture of gypsum and chalk
began to be used (Sebastiano Ricci)…

…Our samples show that there were two bonding media of the ground in
Italian Baroque painting. Laboratory tests confirmed the presence of oil as
the main component, at the same time a frequent share of proteins was
found. That means that a mixture of emulsion character was often used…

…The laboratory also searched for the presence of starch, which is

mentioned in several sources, but without result…
 Jusepe de Ribera,
St Jerome
http://www.flickr.com/p
hotos/havala/4234384
603/sizes/o/in/set-
72157623112312092/

JUSEPE DE RIBERA, ST. JEROME, DO 4374

All samples were taken from the right-hand margin of the picture. After
being sealed in resin microscope sections were prepared. The layer
system was dyed with black amide for proteins and Sudan Black B for oil.
The pigments were demonstrated by microscope observation of their
optical qualities and microchemical tests were added. In one case, sample
No. 2, spectral analysis was added carried out in the restoration studio by
Dr. Králová.

Ground: The yellow-brown ground contains yellow and red ochres, lead
white and siliceous parts. The histochemical proof by dyeing on cross
sections and the foam test are positive for oil.

Paint:
Sample No. 1 - background - the dark colour of the background is
formed by a mixture of brown, black and red pigments.
Sample No. 2 - red draperies - the layer of red colour contains mercury
red with an admixture of ferric red, red organic varnish, lead white and
charcoal black. The mercury red was demonstrated in the spectral
analysis by a conspicuous line on the spectral board in the area of
mercury.
Sample No. 3 - white paper - the white painting was created with lead
white and an admixture of black particles, probably charcoal black.
 Luca Giordano, St Sebastian
http://www.art-prints-on-
demand.com/kunst/noartist/g/giordano__s
aint_sebastian.jpg

LUCA GIORDANO (1634 - 1705),

ST. SEBASTIAN, O 2421

Analysis of the ground layer from a sample of white drapery in the

bottom right-hand corner of the picture and blue of the draperies.

The yellow-brown ground contains yellow and red ochres, lead

white and siliceous parts. The histochemical proof by dyeing on a
cross section and the foam test are positive to oil medium. On this
ground layer lies the painting containing lead white and traces of
smalt and charcoal black.

The analysis of the blue pigment of the draperies showed smalt

(resistance to acids and alkali, isotropic in polarised light).
 El Greco, El Martirio de San Mauricio
http://www.wga.hu/support/viewer_m/z.html
 El Greco, El Martirio de San Mauricio, detalle
https://www.flickr.com/photos/oxfordshire_church_photos/248295616/in/photolist-nWzCU-n1ccsc-
bUKZJY-o5Z8wd-d71kcL-o5NuUT-ch4fBj-aimicY-rprn98-cAteT5-4pu2RL-cCj8w9-aVZQbK-s4F6Eo-
smcNNR-s4MZGr-rpf4zU-icq7Nn-8mwwMx-fmYpUk-dZzG1e-rpf5hW-6Ugn3d-s4F74Q-daa9TG-
6Ukc9B-s4DWSU-Nydpj-69eq4i-7xGW8C-siXhRm-smfiH4-rpf3kE-rprnQ8-gLP3T3-s2V6aM-
s4MZen-rpf5fm-2HNnBL-s2V5J6-smfkT6-6wiApU-n14FzF-nmWpzw-daciyp-oPToca-danGki-
da7gs4-dadadG-n1d2AX
 El Greco,
La Adoración del Nombre de Jesús o La Alegoría de la Santa Liga, detalle
http://arbor.revistas.csic.es/index.php/arbor/article/viewFile/2084/2676/40
12
 El Greco, Anunciación, detalle
http://www.museothyssen.org/microsites/exposiciones/2014/el-
greco/img/content/evolucionTecnica/evolucionPictorica/1rostros-1rostros-
02-grande.jpg
 El Greco, El Salvador
http://arthistoryproject.com/site/assets/files/10823/el_greco_-
_el_salvador_1610-
1614_68x55cm_madrid_museo_del_prado_p02889.jpg
 Francisco Pacheco, Arte de la Pintura, 1649
https://www.scribd.com/doc/130920580/pacheco-arte-de-la-
pintura-pdf
 Diego Rodríguez de Silva y Velázquez, Retrato de Caballero
(Supuesto Retrato de Francisco Pacheco)
https://content.cdnprado.net/imagenes/Documentos/imgsem/98/9
821/98211755-529c-437e-bf3e-2f0689d7f73c/da4eea2b-3ea8-
47ea-a6aa-03a95d17035f.jpg
 Juan Bautista Simó, Retrato de
Acislo Antonio Palomino de Castro y
Velasco (1655-1726)
http://2.bp.blogspot.com/-
3SHE85sfQCM/UuWyMp6YbOI/AAA
AAAAAETk/1Pf1f_AL7bg/s1600/007a
_Palomino.jpg

Antonio Palomino, El Museo Pictorico, tomo segundo, 1724

https://www.museodelprado.es/uploads/pics/25_01.jpg
 Diego Rodríguez de Silva y Velázquez,
La Rendición de Breda, detalle
http://www.epapontevedra.com/arte/L%C3%A1minas/Velazquez
%20(Las%20Lanzas,%20detalle).jpg
 Diego Rodríguez de Silva y Velázquez,
La Rendición de Breda, detalle
http://www.epapontevedra.com/arte/L%C3%A1minas/Velazquez
%20(Las%20Lanzas,%20detalle2).jpg
 Diego Rodríguez de Silva y Velázquez,
Las Meninas, detalle de la Infanta Margarita
http://www.epapontevedra.com/arte/L%C3%A1minas/Las%20Me
ninas%20(detalle%20de%20la%20Infanta%20Margarita).jpg
 Diego Rodríguez de Silva y Velázquez,
Las Meninas, detalle de la Infanta Margarita
http://www.criticoconstante.com/files/2014/04/File-15-copia.jpg
 An update on primed canvas (June 8, 2018)

Molenstraat 47
8790 Waregem
Oil canvas
For an ‘oil canvas’, zinc white is used as the primer, bound with
linseed oil. After that the canvas is put into a drying room for three
days where it air-dries naturally. After that, we sand the canvas
again and apply a coating layer based on titanium white. The
canvas then has to go back into the drying room for a further ten
days.
Absorbent canvases
‘Absorbent canvases’ are given two primer layers of chalk, bound
with glue based on rabbit skins. Because this primer is water
based, these canvases can be dried in the dry-air oven, where the
water can evaporate more quickly.
http://www.claessenscanvas.com/en/products/types-of-canvas
linen canvas Glued (2x glue)
http://www.claessenscanvas.com/en/products/canvas/filter?form=se
archCanvases&form_token=&category_structure=&category_prepa
ration=108&category_quality=&add=View+results
 Updates on priming materials (June 8, 2018)

http://www.winsornewton.com/na/shop/oils-mediums-varnishes-
and-solvents/oil-colour/Primers/oil-painting-primer-16-9-us-fl-oz-
500ml-pot-3050994
OIL PAINTING PRIMER
A ready-to-use primer in a non-yellowing oil-modified alkyd resin
medium. No thinning or stirring is required. Oil Painting Primer can
be applied directly to metal or porous surfaces (glue-sized canvas,
untreated wood, hardwood, plywood, paper) with virtually no sinking
in. A small amount of oil colour can be mixed into the Oil Painting
Primer for tinted priming. The treated ground then accepts oil
colours easily and without chalkiness or absorbency.
 Holbein Art Materials Inc.

http://holbeinamerica.com/wp-
content/uploads/2014/11/Foundations_group.png
Foundation Color
It is the color for under-coating based on silver white. This white
erases the original color of canvas or painting material to make
other colors conspicuous and to assist fixing of the colors. We
provide white, umber, grey, and greenish.
Pigment… white lead, and more...
Medium… linseed oil
http://www.holbein-works.co.jp/english/0403.html