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THE XVII-TH CENTURY’S THIXOTROPIC PAINTING MEDIUM II.THE OLD FLEMISH SCHOOL GELS AND THEIR RECONSTRUCTION FALLOWING RUBENS AND VAN DYCK’S RECIPES

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Author(s): CRISTIAN MANGUTA

Journal: Journal of Science and Arts
ISSN 1844-9581

Volume: 12;
Issue: 1;
Start page: 191;
Date: 2010;
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Keywords: Gel mediums | thixotropic character | “Black oil” | essential mastic varnish | Old Flemish School | Rubens | Van Dyck.

ABSTRACT
At the beginning of the XVII century, in Europe was born a new, exuberant, aristocratic style that served the Catholic Church interests, being manifested through a special dynamic- Baroque. This new vision spreads from Italy to the Flemish countries, and it was represented by virtuosity, rhythm, and grandeur. The genius painters Peter Paul Rubens and Anthony van Dyck were at the top of it, creating a connection between the Flemish culture and the Italian Renaissance ideal. Great cities from Flanders like Bruges, Liege and Anvers had become art developing centers. The media typology that was used for creating a personal painting vision in this period of time was very diverse, in the center of attention being put thixotropic gels From the very first beginning, Flemish painters wanted a soft, workable material, but in time the needs turned to flexible, consistent pastes, so the richness of detail was more evident. The preparations consisting in lead, oil and mastic resin can be found in paintings dating from this period, as well as in historical sources that were investigated in the previous article, real bases for the practical studio experiences with the gel media recipes.The glaze technique was a real improvement of oil painting effects, because of the mediums comparative treatment. The analysis offers clues for a better reconstruction of the old glaze mediums recipes.
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