I find it amazing someone would know how to stretch a canvas yet not prep it for painting. Very painstaking work. How old do you think these paintings are?
Thanks for this demonstration of how important facing is, Eduardo. Wow, had you not faced it, all that paint would've been lost. Lovely work, as usual, thank you for sharing this. Your videography is improving all the time as well. I could see exactly what you were doing, how you were doing it, and your meticulousness. I have a big grin on my face! 🤗🤗
Hooo, :) :) So happy for that smile Vickie, and thank you for the words about my videography. Although this way of filming and speaking about the process is a bit more spontaneous and doesn´t allow me to be so "perfect" in the editing process. But actually, I am enjoying very much making this more spontaneous way. so I think that from time to time I will follow this model. Yes Vicky the facing was important, but maybe the glue also helped in a way to a strange reaction between Paint, lack of ground layer, or some other factor. But fortunately, I could preserve as much as possible of the remaining paint, let's see how the restoration evolves, from here...
Ho Eduardo, glad to catch your video's again. I have moved to Mexico in the mean time and the internet is not the greatest but I'm glad i could catch this one :)
I AM SO Happy you are back... I was missing you all this time... I thought you were having a more introspective time... But you have moved 😊.. Glad you are well. Have a great time down there 😊👍
What a painstaking production! In your opinion were these 2 still lifes done professionally or by a hobbyist? How old? I'm just having a problem understanding how someone could know how to stretch a canvas and yet not prep the surface of it.
I totally understand your intrigue, I was also intrigued. But the fact is that not all artists do prepare their own canvas. sometimes they buy them ready, or someone prepared them for them. Not all people who like to paint, know, how is the best way to prepare a canvas, also information about how to, can change from time to time. This painting is signed and the date is 1908, so it is about 124 years old. I did notice that on the parts that are hammered with nails to the stretching frame, there is more white paint, also losing very easily, It is possible that a layer of this paint, was applied to all canvas ( as a preparation layer, but it is not gesso, or with the same resistance, and it is extremely vulnerable, and comes off very easily). I sincerely don´t think this painting was painted by a hobbyist, the perspective is very good, and the way leaves and fruit skin are painted, are also very good, although the grapes sometimes are painted in a quicker mode, not with so much detail, are still very good, I don´t think a hobbyist could reach that level. As you will watch in the next part, I explain what probably did happen here. Probably was the conjunction of two factors, first the ground layer(other paint, not gesso) or totall inexistence of it) is failing very easily. Second, the glue I applied on the facing could somehow react with the paint, which is very difficult to happen, since is a very neutral solution. I have to admit that when I was cleaning the back of the painting, I saw some strange small relief´s on the back of the canvas, more or less like a bubble of air under the canvas (meaning some kind of separation) at that moment if I had applied a layer of liquid adhesive to the back of the canvas, even before removing the facing paper. The loss of paint would be less, but now I know, that if I see the same reaction, on the back of its brother's painting, I will apply it.
@@Figueiredoartconservation Thanks for sharing. Another viewer said you lived in Brussels but I take your answer for true. Antwerp is beautifull, I was there for the weekend two weeks ago.
@@atzonaftaniel4798 Antwerp really is an amazing city, Beautiful, friendly, with an incredible history in what concerns to painting, I really love to live here.
Hum, wouldn't it be better to soak the back of the canvas with adhesive, before removing the facing? If the painting is flaking in some places, it would well flake in other spots you haven't treated later in the future.
Yes Jonny, definitely at that stage, would have been the best action, (before removing the paper of the facing). But if you choose to watch the next episode, where I do apply new linen, I make this procedure of applying an adhesive on the back of the painting and I explain exactly what you are also suggesting now.
Actually, I have some that I bought not long ago, but in fact, they are not efficient, only if the nail is already a bit out, but for example, most of the time, nails are very old, and their head is deep into the wood, what makes it very difficult, (that is probably one of the hardest things, I have in the process of restoration), I sincerely wish I could find one tool Like I have seen another restorer here on YT using) but the tool Julian is using almost looks handmade, so I don't know if I could find it on market, I even already looked on eBay for used ones or older ones, but not with success. If you know where could I find one similar, please let me know. Thanks in advance.
Watch this video - ua-cam.com/video/2LwU34uNNuo/v-deo.html
I find it amazing someone would know how to stretch a canvas yet not prep it for painting.
Very painstaking work. How old do you think these paintings are?
Thanks for this demonstration of how important facing is, Eduardo. Wow, had you not faced it, all that paint would've been lost. Lovely work, as usual, thank you for sharing this. Your videography is improving all the time as well. I could see exactly what you were doing, how you were doing it, and your meticulousness. I have a big grin on my face! 🤗🤗
Hooo, :) :) So happy for that smile Vickie, and thank you for the words about my videography.
Although this way of filming and speaking about the process is a bit more spontaneous and doesn´t allow me to be so "perfect" in the editing process. But actually, I am enjoying very much making this more spontaneous way. so I think that from time to time I will follow this model.
Yes Vicky the facing was important, but maybe the glue also helped in a way to a strange reaction between Paint, lack of ground layer, or some other factor.
But fortunately, I could preserve as much as possible of the remaining paint, let's see how the restoration evolves, from here...
@@Figueiredoartconservation All I know, Eduardo, is that I really enjoyed this video. Thank you.😁
@@Vickie-Bligh Thank you for that Vickie.
Ho Eduardo, glad to catch your video's again. I have moved to Mexico in the mean time and the internet is not the greatest but I'm glad i could catch this one :)
I AM SO Happy you are back... I was missing you all this time...
I thought you were having a more introspective time... But you have moved 😊.. Glad you are well. Have a great time down there 😊👍
@@Figueiredoartconservation Yes I was fed up in Europe so I moved to Mexico
What a painstaking production! In your opinion were these 2 still lifes done professionally or by a hobbyist? How old?
I'm just having a problem understanding how someone could know how to stretch a canvas and yet not prep the surface of it.
I totally understand your intrigue, I was also intrigued.
But the fact is that not all artists do prepare their own canvas. sometimes they buy them ready, or someone prepared them for them.
Not all people who like to paint, know, how is the best way to prepare a canvas, also information about how to, can change from time to time.
This painting is signed and the date is 1908, so it is about 124 years old.
I did notice that on the parts that are hammered with nails to the stretching frame, there is more white paint, also losing very easily,
It is possible that a layer of this paint, was applied to all canvas ( as a preparation layer, but it is not gesso, or with the same resistance, and it is extremely vulnerable, and comes off very easily).
I sincerely don´t think this painting was painted by a hobbyist, the perspective is very good, and the way leaves and fruit skin are painted, are also very good, although the grapes sometimes are painted in a quicker mode, not with so much detail, are still very good, I don´t think a hobbyist could reach that level. As you will watch in the next part, I explain what probably did happen here. Probably was the conjunction of two factors, first the ground layer(other paint, not gesso) or totall inexistence of it) is failing very easily.
Second, the glue I applied on the facing could somehow react with the paint, which is very difficult to happen, since is a very neutral solution.
I have to admit that when I was cleaning the back of the painting, I saw some strange small relief´s on the back of the canvas, more or less like a bubble of air under the canvas (meaning some kind of separation) at that moment if I had applied a layer of liquid adhesive to the back of the canvas, even before removing the facing paper.
The loss of paint would be less, but now I know, that if I see the same reaction, on the back of its brother's painting, I will apply it.
Such good artistry. Btw are you Portugese since Figueiredo sounds Portugese but I thought you were Italian.
Yes, he's Portuguese but lives in Brussels, Belgium
Yes, I am Portuguese ;) living in Antwerp.
@@Figueiredoartconservation Thanks for sharing. Another viewer said you lived in Brussels but I take your answer for true. Antwerp is beautifull, I was there for the weekend two weeks ago.
@@atzonaftaniel4798 Antwerp really is an amazing city, Beautiful, friendly, with an incredible history in what concerns to painting, I really love to live here.
@@Figueiredoartconservation I stand corrected. I think I read one of your comments some time ago mentioning Brussels
Hum, wouldn't it be better to soak the back of the canvas with adhesive, before removing the facing? If the painting is flaking in some places, it would well flake in other spots you haven't treated later in the future.
Yes Jonny, definitely at that stage, would have been the best action, (before removing the paper of the facing).
But if you choose to watch the next episode, where I do apply new linen, I make this procedure of applying an adhesive on the back of the painting and I explain exactly what you are also suggesting now.
There is a tool for better removal of nails. You dont need to use a screw driver and a knife!
Actually, I have some that I bought not long ago, but in fact, they are not efficient, only if the nail is already a bit out, but for example, most of the time, nails are very old, and their head is deep into the wood, what makes it very difficult, (that is probably one of the hardest things, I have in the process of restoration), I sincerely wish I could find one tool Like I have seen another restorer here on YT using) but the tool Julian is using almost looks handmade, so I don't know if I could find it on market, I even already looked on eBay for used ones or older ones, but not with success. If you know where could I find one similar, please let me know. Thanks in advance.