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I believe the origin of the controversy with a gallery finish is related to a practice by the National Gallery in the 19th century to add a varnish mixture that included boiled linseed oil and litharge mixed with mastic. The oil content in the varnish was the issue.
I've managed to get a similar effect when applying a glossy spirit varnish (MSA.) Essentially, it's just a matter of disturbing the surface with the brush tip, as Richard mentioned, without resorting to using matting agents, although, I've done that too.
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