Historical Painting Techniques, Materials, and Studio Practice
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complaints, have been strictly adhered to. The workmen, too, in these shops<br />
are not permanent, <strong>and</strong> there is virtually no responsibility fo r any one<br />
preparation. In most cases the complaint is never made, for the evil may<br />
be a very serious one, <strong>and</strong> yet it may not manifest itself bifore the death<br />
of the artist.<br />
In conclusion, he stated, "The cure that we have to seek is one it is possible<br />
to defme compactly. It is to establish a means of transmitting the practical<br />
wisdom of one generation of painters to another" (8).<br />
With striking prescience, he addressed the need "to fo und a society for looking<br />
after the material interests of painting . .. composed of important members<br />
of the profession of painting ... [joined by] gentlemen of reputation in<br />
chemical science." This society would form "a library ... of all works of<br />
literature which exist on the subject of artistic practices . .. ,establish a workshop<br />
for the preparation of materials . .. ,arrange for the importing of colours<br />
from abroad for collecting specimens of experiments. An important aspect of<br />
the society will be to cultivate the opportunities of obtaining further samples<br />
of every variety of colours existing in the far East, of proving these, <strong>and</strong><br />
putting them on record in our museum fo r all generations to see." A technical<br />
school would be established, <strong>and</strong> artists trained, "that thus we should be the<br />
inheritors, not only of our immediate predecessors, but the heirs of all the<br />
ages, <strong>and</strong> that, though our pretensions would not be ostentatious in our humble<br />
way, we might be proud that we should be repeating the chosen tasks of<br />
the gods, the directing of inert matter to a spiritual end" (9).<br />
The Pre-Raphaelite technique<br />
Fully aware of the frailty of the materials of painting, Hunt became a master<br />
technician. Most of his paintings have remained well preserved, retaining the<br />
exceptional brilliancy of color which he strove so hard to achieve via successive<br />
layering of minute strokes of transparent <strong>and</strong> semi-transparent paint.<br />
He chose quality linen canvas stretched on paneled stretcher supports as "protection<br />
against accidental injuries, such as a push from a corner of a picture<br />
frame in the confusion which precedes <strong>and</strong> follows exhibitions, a kind of<br />
injury which, if not visible at the time, may show years afterwards in starred<br />
cracks in the hard paint" (10).<br />
With some notable exceptions (such as the Liverpool Triumph of the Innocents,<br />
painted on h<strong>and</strong>kerchief linen from an Arab bazaar because the artist was too<br />
impatient to await a delayed shipment of supplies from Engl<strong>and</strong>), many of<br />
Hunt's paintings remain unlined today <strong>and</strong> on their original stretchers, in the<br />
same gilt frames he designed for them. On other occasions, he had the paintings<br />
lined as a prophylactic measure, either during execution or shortly after<br />
completion (11).<br />
Hunt chose his medium <strong>and</strong> surface coating with the same view to permanency<br />
as his pigments <strong>and</strong> support. Instead of the popular megilp, a gelled<br />
preparation of linseed oil <strong>and</strong> mastic varnish much used <strong>and</strong> abused by nineteenth-century<br />
British painters, Hunt used amber colors, smooth-flowing<br />
tube paints with pigments bound in a drying oil <strong>and</strong> copal resin. For once,<br />
Hunt diverged from sound technique, failing to foresee the embrittling effect<br />
to the paint layer over time from the addition of copal to the medium, along<br />
with the eventual yellowing of his colors due to the oxidation of the varnish<br />
component. With the best of intentions, he defended his choice of medium,<br />
noting that "amber varnish ... protects the colours very perfectly, but has<br />
two slight disadvantages, as it lessens the brilliance of the white by the richness<br />
of the yellow tone in the varnish, <strong>and</strong> permits each touch to spread, though<br />
very slightly. Both these difficulties, however, occur immediately <strong>and</strong> may be<br />
calculated for" (12).<br />
In spite of his profound interest in stability of materials <strong>and</strong> techniques, if<br />
Hunt is remembered at all today as a technical innovator, it is as the author<br />
of the Pre-Raphaelite technique, a technique actually attempted by very few<br />
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