Oil Portrait Using the CSO Method by Maurice Garson

The canvas used for this project is an acrylic primed 10 oz fine smooth linen stretched over a 20" x 16" x 1 ½ “ Gallery Pro cross braced stretcher frame.

I usually don't use pre-primed canvas but I was offered a deal I could not refuse for a large quantity. Taking advantage of this, the acrylic primed side of this canvas was utilized as a protective finish to the back of the painting instead of wax. Fortunately the acrylic primer will allow additional soaking with water to help keep the canvas taut while at the same time protecting it from contaminates. The painting surface itself was prepared as described in the previous post.

Through out the Louis Velasquez book emphasis is placed on the correct use of the primary ingredient "linseed oil" and how

it was processed by the old masters and applied to canvas.

In quote of his book "The oil paintings of the 14th century Van Eycks and other masters of the era, were made slowly by hand, with natural materials and with methods guided by experience and understanding. Almost 600 years later, they are still in extraordinary condition of preservation."

It goes on to say "Their paintings took weeks, or months to complete the layering process. The artists had understanding of thixotropic properties of unrefined oil and the properties of natural emulsions. These paintings have brilliant color depth, hard lustrous surfaces, extremely fine minute micro fine details, sensuous textural applications and have been called "jewel-like' by experts throughout history."

There have been many theories about the old masters mediums. Fredrick Taubes, Charles L. Eastlake and many painters and conservators from the turn of the 20th century believed that the jewel like qualities of their paintings could only be achieved with the use of resinous materials such as Amber and Copal. However, there is documentation that use of different additives and incompatible solvents have also been the cause of discoloration and decomposition.

One topic that is abundant in all their notes is a process to remove impurities from and to bleach and thicken the linseed oil used. Louis believes this is the key to perfecting an archive oil medium. And, while using his materials and instruction I am set out to prove him right.

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