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Software Vault: The Gold Collection
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Software Vault - The Gold Collection (American Databankers) (1993).ISO
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S&M-02
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1993-05-30
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░░░░░░░░░░░░░░░░░░░Transferring the Paint Layer░░░░░░░░ by Phil Gottfredson
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You asked how we transfer the paint layer of a painting
from one canvas to another.
This is done when the canvas of the painting has shrunk
and is causing the paint layer to buckle, and is done when the
canvas has rotted and no longer supports the paint layer.
I will not go into great detail; I'd rather summarize the
process. First the painting is removed from its stretcher, and
placed face up on a flat table with layers of release paper under
it. There are several types of adherents used, but I select wax
for this discussion.
Bees wax is blended together with colophony rosin, which
melts at a tempreture of 160 degrees F. A thin canvas is placed
over the front of the painting, stretched and pinned to the
table. This low melt wax is ladelled over the canvas which runs
through and on to the surface of the painting, thus bonding the
paintlayer to the facing canvas.
When cool, the waxed canvas holds the paintlayer in
place. Then the painting is turned over so the backside is face
up. Then with a sharp scalpel the old canvas is gently cut into
narrow strips. A wetting solution that causes the gesso to
release its bond from the old canvas is applied, then the old
canvas is peeled away. When the old canvas is removed and the
gesso layer is revealed and cleaned, a new canvas is applied to
the gesso. A second wax mixture that melts at 180 degrees F is
then ladelled on to the new canvas. The wax bonds the gesso to
the new canvas, and a warm iron is used to work out air bubbles
and distribute the wax evenly.
After the new canvas is cooled, the higher temperature
used to melt the wax into the new canvas has caused the facing
waxed canvas to release somewhat. The painting is then turned
over, face up, and the release paper is pulled of the front of
the facing canvas. Then the facing canvas is warmed so as to
allow it to be pulled away from the face of the painting. There
is alot of wax residue on the front of the painting that is then
removed with mineral spirits solvent. Then the old varnish layer
is removed, the painting is placed on new stretcher bars and
cleaned. When touchup is completed, the painting is re-varnished
and put into its frame.
This process was first used by Art Conservators on the
painting by Rembrandt called "The Night Watch." This very old
method is still used today; however, some synthetic adherents
are being used for this same purpose, and there are pros and
cons on which method is the best.
There you go.
-end-
Copyright (c) 1993 Phil Gottfredson