Resources
A Set of Reeves Watercolours
Antique Paints
In a couple of my listings I have mentioned the use of old paints. Here, I would like to expand on that already said, however, safety first of course.
Some of the pigments that were used in these wonderful old paints were in fact poisonous. This of course makes them seem intrinsically alarming and at the same time perhaps a little intriguing.
As an example, a pigment with a few names but one that is usually seen as Emerald Green does in fact contain Arsenic. Another named Vermilion contains Mercury. There are others but these are the two most often encountered. Other pigments for example may contain Cobalt and Cadmium, but as you know, they also occur in modern paints also.
So what does this mean to the artist? In a couple of words it means common sense! This means don’t eat or drink whilst using them. Smoking is also out. You should maybe think about protecting your skin also.
So, right now to many people this sounds like a fair amount of bad news, and the question Why use them? may fairly arise. Well, this is why I do.
All of the Old Masters used paints that we consider dangerous, so if you wish to emulate them there is reason number one. Let’s investigate why you might like to follow in the footsteps of the Masters.
On the whole, these people were fortunate enough to have had a thorough and time tested education. This means these artists knew which colours would be best used for a given effect in a painting; this can touch on verisimilitude and symbolism for example.
You might say 'there are modern colours that closely approximate the originals'. This is so, they do give good approximations, as do artificial hair and bristles do in the brushes we use. Following in the wake of the Masters can, and does, give good guidance on how to use these things also. To my mind there is something special in treading the paths of the past. We are after all creatures made of the past. If we choose we can attempt carry on the legacy of whatever art means to you.
One other consideration is this. It is easy to think that our paints nowadays are far better in quality compared to the paints used by the Old Masters.
But are they really? With makers such as Winsor Newton, Roberson, Reeves, Newman and others, you may be assured that they are of a good quality. In some cases, I’m fairly sure the pigment load is larger. This is an important thing in my view. I have used these paints many times, although I personally make my own paints usually. The old ones are good and in certain paints like Terre Vert, they offer a pigment no longer available as the mines were closed in the 1940s.
This has just been an introduction to a much bigger subject that I hope to revisit it.
