Colour and Technique Newsletter No. 3
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The following correspondence, reproduced with permission, highlights a particular concern that I have over the introduction of ‘new’ techniques.

Having visited and spoken to many art material manufacturers I can assure you that most could not care less if these ‘water soluble’ oils cause problems further down the track - because they sell well. Michael

‘I’ve added water soluble oils to my multimedium
arsenal. The brand I chose was H2Oil from Royal Talens, because of their claim to accept the mixing of acrylics and watercolour into them. Holbein makes a similar claim’. Kelsey

With reference to water soluble oils. My views on this type of paint are given on page 2 of our first newsletter. Michael

After two years I’ve had zero problems with my H2Oil experiments. A better record -so far- than for some of Leonardo’s disasters. Although not equating myself with the “master”, I guess that the bottom line for me is that I’ve been able to produce effects with the mixing that I’m sure that I would not have been able to produce with acrylics, oils or watercolours alone. This, to me, is worth taking certain risks with longevity. If you’d like, I’ll keep you advised as to any cracking flaking etc. Kelsey

‘By the way, I’ve had good results with mixing the oils, acrylics and watercolours together. I don’t suppose any of us knows what the long term effects of this sort of experimentation are though’. Kelsey

‘Well, we do actually, the long term term effects are disastrous. The short term also (usually). I have been asked to restore many a painting where various media were mixed together. The paint invariably cracks, crumbles and falls off’. Michael

‘I’m always amazed at how conservative many artists are about the materials that they use. Especially considering the public view of artists as being bold, cutting edge, outrageous etc. I agree with what you’re saying, but other than someone actually using the new materials, how would you suggest that they ever get tested under typical artist use?’ Kelsey

‘As far as testing new materials, it should not be up to the artist to risk their work, rather it should be up to the manufacturer to fully test their products before release. This might have been the case at one time but now the ‘bottom line’ is more important.
At one time the craft of painting was far
more important than it appears to be today.

Yes, please keep me informed as to how your mixed media holds out. What I have seen are staff at art galleries dedicated to modern works going around in the morning with an ash pan and brush sweeping up the paint that has crumbled away during the previous 24 hours. Michael


My summary:
Leonardo da Vinci lived in an era when the craft of painting was of great importance. As with all painters of the time he worked with materials which were often poor and with techniques which were still at the experimental stage. Many of the paintings from this era did deteriorate but look at how many survived in wonderful condition. This is because they cared about their work.

Nowadays we have materials which earlier painters would have given anything for. We also have a vast amount of information at our fingertips. Yet the average 5 year old painting is in a far worse condition than the average 500 year old painting.

Why? One of the reasons is that