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the conservation scientists with whom Robert Gamblin works in the development of his products. This is in contradiction to the many claims by Jacques Maroger and the advocates of his medium that this medium was used by the painters we refer to as the Old Masters, which includes those of the 16th and 17th centuries.
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I am certainly no apologist for Jacques Maroger and his padded-out book, but the reality is that he did not simply associate with conservators, he was one of the head consevarors at the Louvre and was honored by the French government for his seminal work on uncovering the techniques of Jan Van Eyck. As I recall, the Louvre did not have any exhibits of electric chairs, Barbie dolls or Pez dispenser. The Smithsonian does.
I don't know which "sellers of Maroger's medium" that you might have been referring to in the context of this thread. Perhaps I was wrong to take offense, especially after going into some of the science (science we proved in our labs, not in reading some park rangers compilations and not simply based on anecdotal accounts of what has happened in anyone's paintings. These are tests done with accelerated aging, actinic light generators and chemical atmospheres on
test samples that have been recorded and photographed at various stages. So please, name the names of the Maroger's sellers to whom you referred if they were not me and my cohort.
If you stay up with the literature, as I do, you will be familiar with the most recent article delivered in Dublin where a number of respected researchers determined that, if megilp was mixed
fresh and in a proper balance of resin, it proved to be exceptionally stable and flexible...much more so than straight oil.
What makes me shake my head is that you first cite that researchers found no signs of resin in this or that master's painting, as if to condemn the practice. While that may or may not be true, it has no bearing on the reality that the megilp/Maroger's medium greatly improves handling. A fact no one familiar with it will deny. Yet, you speak highly of alkyd medium although I'd vouchsafe not one trace of that was found in those same master's paintings.
When referring to the unnamed seller of Maroger's medium, you mentioned that he had a painting delaminate. Gee, Virgil, the same thing happened to me. You mentioned that it was due to an experimental ground. Gee, Virgil, I know that you weren't speaking about me because you are at once honest and forthright and would not deny it as you did above if it were not true, but something like that hapened to me. It was an experimental ground sent by a mid-level manufacturer, like Gamblin. It did crack. But not in the painting that delaminated. So, obviously, I was not the Maroger's seller to whom you referred as having a painting delaminate. How could I be? You denied it, and you are an honest man...and very polite in that honesty.