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I agree with Leopoldo on the subject of lead white pigments. They do indeed produce the most durable paint films, and are largely responsible for the survival of the Old Masters' paintings over the centuries. It is always wise to take the appropriate sensible precauutions when working with ALL our paints and materials, as lead is not the only only one carrying health consequences if handled carelessly.
Regarding Maroger medium, it might be best to disregard the claims made by those who sell it, and instead consider the following points: One, a number of Jacques Maroger's own paintings are now darkened and badly cracked, which does not speak well of the mediums he advocates in his book, and, Two, it seems that the Old Masters prior to 1750 or so were able to paint as they did without Maroger medium or mastic resin in their paint, according to scientific analyses of paint samples from many of their paintings, performed by conservation scientists at the National Gallery, in London. This would indicate that Maroger medium is not essential to painting well in oils. Titian's medium, according to the NGL analyses, was walnut oil; Rembrandt's was linseed oil, and sometimes walnut oil. I experimented with Maroger medium many years ago, and can attest to the fact that it handles marvellously under the brush. However, I also found I could paint every bit as well without it, whether using alkyd mediums or just linseed and/or walnut oil with proper technique.
As for the darkening of oils over time, this is something that occurs with linseed oil in the absence of light, which effect is reversible on normal light exposure. The process can be accelerated by placing the painting in sunlight for brief periods for several days in a row. This has been documented by a number of scientific studies I can refer anyone to who doubts it, and has been corroborated by my own experiments begun in 1985.
I would discount the opinion of the seller of Maroger medium who claims to have had problems with alkyd mediums causing delamination. The first instance was when he used an experimental ground, which would have no bearing on alkyd mediums, and the other one may well have been attributable to some other error. I have used alkyd mediums, among many others, for 22 years or so, and have not had any problems with them yet. It is possible to have trouble with any medium by using it incorrectly.
I recently tried Gamblin's Neo Megilp, and like it very much. I concur with those who would like to see it dry a bit faster, but I appreciate its not drying before I've had time to develop my forms fully. I have great confidence in Gamblin's products, as I know he works closely with the top conservation scientists in developing them before he puts them on the market. I feel he and his products are unfairly maligned by a certain purveyor of Maroger medium and other products, who hosts an internet forum where he spreads his ideas. One cannot disparage science unless one has better science to report as backup.
Virgil Elliott
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