Warning! Don't use damar as a final picture varish

[Scott Bartner]

Originally Posted by Virgil Elliott

After an artist has painted his or her heart out on a painting, it seems wrong, to me, to then do something to compromise its longevity out of eagerness to put it out there right away. For people who cannot wait to get rid of their pictures, there is the option of painting in alkyds, acrylic, pastel or watercolor instead.
Virgil Elliott

Agreed Virgil but will using retouch varnish seriously compromise the longevity of a painting? Are Conservators saying this now, because a few years ago it was advocated, at least here in Europe.

Kind of reminds me of the doctors who warned against butter suggesting margarine was a better alternative and then latter olive oil and now no oils. What is the truth? What do you think they will be saying about Gamvar in ten years time? (I won't know because I probably will have died from an olive oil induced coronary.)

[Virgil Elliott]

Scott,

Many questionable practices are or were advocated by one person or another, and it could be very confusing taking them at face value, since they are not all in accord. What one can do to sort things out is to consider the fundamental principles involved. Vegetable oils "dry" by a process that involves the absorption of oxygen, which takes place over a long period of time. It makes sense that to place a barrier of varnish between the paint layer and the air before this process is complete would surely interfere with the proper drying/curing of the paint. To what extent this would manifest itself adversely is an open question, but why risk harm to our own paintings?

Virgil Elliott

[Scott Bartner]

This is something to think about. I'm certain I'm not the only artist who retouches before a painting goes out the door. I appreciate the information.

[Lacey Lewis]

This has been a great source of information for me. Unfortunately, I learned to paint with oils before I learned anything about oils.

It was only a year ago that I thought it was O.K. to use Turpenoid Natural as a medium!

[Michele Rushworth]

When I want to deliver a recently completed commission that has sunken-in dull areas, I "oil out" those parts of the painting with a 50% linseed/50% OMS mixture, rather than using any type of retouch varnish. That evens out the surface quite well and dries to a nice semi gloss finish.

Virgil, does this seem like a sound practice?

[Virgil Elliott]

Originally Posted by Michele Rushworth

When I want to deliver a recently completed commission that has sunken-in dull areas, I "oil out" those parts of the painting with a 50% linseed/50% OMS mixture, rather than using any type of retouch varnish. That evens out the surface quite well and dries to a nice semi gloss finish.

Virgil, does this seem like a sound practice?

Michele,

Maybe. It depends on how much you leave on the surface, and on the percentage of oil there is in the paint making up the painting. If everything is right, the oiling-out oil will soon be absorbed into the paint layer, and become part of it. The painting should still be varnished after it has cured for six months to one year. If there are any heavy passages or impasto, one year would be better. I assume you always arrange to get the painting back for varnishing at the appropriate time. I make sure my portrait clients understand the importance of a final varnish, and agree to let me have the painting back a year after I've delivered it.

When oiling out, it's very important to wipe as much of the oil off as will come off, with a soft cloth, immediately after the oil is applied. Enough will remain on the surface of the painting to accomplish the purpose.

I hope that helps.

Virgil

[Michele Rushworth]

Thanks, Virgil!

[Anthony Emmolo]

You guys are frightening me. I have been using retouch varnish almost each morning at the beginning of my painting day. It brings the freshness of the painting back to light. It is the only way that I can add new paint to the canvas. Without it, the fresh paint looks different than the paint that I applied the day before. Especially in the shadow areas which dry chalky. Then, I apply a thin layer of painting medium by Falens, which is the medium I use throughout the painting to loosen up my paints after squeezing them from the tubes. After that, I apply a final coat of Damar varnish and have never experienced cloudiness. My work is sold in galleries for the past four years, and I haven't received any phone calls about yellowing.

1- Am I using retouch varnish wrong? If so, how can I work with the chalkiness of a painting when I want to add new paint to the painting and cannot accurately see the values and temperature of chalky paint compared to fresh paint?
2- How long after use does the yellowing of Damar varnish begin?

[William Whitaker]

Virgil,

Thanks so much for responding to my email and contributing to my post. Once again, I'm amazed by the effort and care you give to provide us good and useful information. Everybody who reads this post on damar varnish should copy your contribution and save it for reference.

All you folks out there in Oil Painting Land, Virgil really knows his stuff. Pay attention.

In 1973, I was painting without the addition of any painting/glazing medium at all. For a while I used Ralph Mayer's concoction -- stand oil plus damar resin -- but I found it very difficult to use when I wanted to do sensitive high finish detail work.

In my case, I would not have messed with the little painting at all if it had been done by anybody else. Since it was mine, I was none too careful, knowing I could repair any damage I would inflict.

Naturally, acetone cut the damar, as did denatured alcohol. It never occured to me to use mineral spirits to stop the solvent action. Oh well.

I was pretty rough on the painting when I removed the varnish. In spite of being beaten up, the painting actually held up pretty well. Paint is tougher than we expect sometimes.

I recently cleaned another painting, done in 1976 and varnished with damar. In that case, I got the varnish off without too much trouble. I don't know why. It too had appreciably yellowed -- was beginning to take on a golden tone.

Anthony,
I too use damar retouch varnish from time to time. I don't think it contains much damar, for the gloss doesn't last very long. I believe it might be mostly solvent.
You won't notice any yellowing in the final damar varnish for maybe two decades. Remember too that in the past collectors were fond of that yellowing. They called it "gallery tone." I wouldn't worry much about it. Perhaps you can get Virgil to jump in again and give you the authoritive word.

Bill

[Virgil Elliott]

Originally Posted by Anthony Emmolo

You guys are frightening me. I have been using retouch varnish almost each morning at the beginning of my painting day. It brings the freshness of the painting back to light. It is the only way that I can add new paint to the canvas. Without it, the fresh paint looks different than the paint that I applied the day before. Especially in the shadow areas which dry chalky. Then, I apply a thin layer of painting medium by Falens, which is the medium I use throughout the painting to loosen up my paints after squeezing them from the tubes. After that, I apply a final coat of Damar varnish and have never experienced cloudiness. My work is sold in galleries for the past four years, and I haven't received any phone calls about yellowing.

1- Am I using retouch varnish wrong? If so, how can I work with the chalkiness of a painting when I want to add new paint to the painting and cannot accurately see the values and temperature of chalky paint compared to fresh paint?
2- How long after use does the yellowing of Damar varnish begin?

Anthony,

You can accomplish the same thing by oiling out instead of using retouch varnish, but you might need to give the painting a bit more time to dry between sittings. A very thin scrub-in of linseed oil over the area to be repainted will do the trick. Wipe off as much of it as will come off after you've scrubbed it on, before you paint into it. What remains is all that is needed. The chalky look you mention might be due to the colors you've chosen. Umbers are particularly bad in that way, burnt umber especially. I very seldom use burnt umber any more, for that reason mainly.

You can do many things wrong and not see the consequences for fifty or more years. That doesn't mean they aren't going to happen. Look to the conservation field to get an idea what holds up and what causes problems.

Virgil Elliott