Portrait Artist Forum - View Single Post - A No-lead Maroger medium?

04-26-2002, 01:49 AM

For anyone truly interested in Marogers medium and it's history and usage, here is a site that has put up the famous article from the March 1976 issue of American Artist magazine:

http://CarolAllisonArt.com/Article.html?

This article went far in terms of spreading the word about the Maroger mix and is still quoted in circles that talk about this medium, it's recipes, and it's applications... It's worth checking out if you have an interest in this medium/topic.

Douglas--Yes, I like that Vermeer sight very much and have had frequent visits there. But the artist I was mentioning is very different--his name is JAN VAN HUYSUM, a Flemish still life painter from the early 18th century. His florals are exquisite in detail (he often painted things with a single sable hair). He only adds to the mystery though, as his paintings are in superb condition (albiet some fugitive greens), and he was militant about not allowing anyone in his studio, so hardly anything is known about his techniques...?

Doulgas, when you say that all paints dry to a plasticy finish--what is your experience with natural oils and resins? Besides Maroger, a basic mix of stand oil and a balsam will also dry to a wonderful jewel like finish that is not plastic like.

But as you say, different strokes for different folks... It is my sincerest ambiton to paint as the masters did (and as most modern artists do NOT). And thankfully, one true blue FACT of art is that we definelty know that the old masters did not use any alkyds.

I suppose if I wanted to paint like more modern artists, I would abandon such old fashioned things such as linen and dangerous lead and utilize polyester and alkyds...

But I don't, so I haven't... I also work in egg tempera, and every time that I prepare a traditional gesso panel (again with old fashioned out date things like hide glue and marble dust), and make my paints with pure pigments, egg yolk and water, I am always in awe that I am using the same materials and techniques that Michaelangelo used--and how effective they still are...

Best,
Todd

04-26-2002, 01:49 AM	#21
Todd March Guest Posts: n/a	For anyone truly interested in Marogers medium and it's history and usage, here is a site that has put up the famous article from the March 1976 issue of American Artist magazine: http://CarolAllisonArt.com/Article.html? This article went far in terms of spreading the word about the Maroger mix and is still quoted in circles that talk about this medium, it's recipes, and it's applications... It's worth checking out if you have an interest in this medium/topic. Douglas--Yes, I like that Vermeer sight very much and have had frequent visits there. But the artist I was mentioning is very different--his name is JAN VAN HUYSUM, a Flemish still life painter from the early 18th century. His florals are exquisite in detail (he often painted things with a single sable hair). He only adds to the mystery though, as his paintings are in superb condition (albiet some fugitive greens), and he was militant about not allowing anyone in his studio, so hardly anything is known about his techniques...? Doulgas, when you say that all paints dry to a plasticy finish--what is your experience with natural oils and resins? Besides Maroger, a basic mix of stand oil and a balsam will also dry to a wonderful jewel like finish that is not plastic like. But as you say, different strokes for different folks... It is my sincerest ambiton to paint as the masters did (and as most modern artists do NOT). And thankfully, one true blue FACT of art is that we definelty know that the old masters did not use any alkyds. I suppose if I wanted to paint like more modern artists, I would abandon such old fashioned things such as linen and dangerous lead and utilize polyester and alkyds... But I don't, so I haven't... I also work in egg tempera, and every time that I prepare a traditional gesso panel (again with old fashioned out date things like hide glue and marble dust), and make my paints with pure pigments, egg yolk and water, I am always in awe that I am using the same materials and techniques that Michaelangelo used--and how effective they still are... Best, Todd