Wax painting

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As wax painting refers to the use of wax as a binder of colors or merely as fasteners for already geschehenem order the same, while the now synonymous word used encaustic actually refers to the melting of the wax in the area of the image by a hot iron.

history

Mummy portraits found in Fayum in 1887 have shown that one type of encaustic painting was made with an extremely pliable, colored wax compound that was applied with a toothed iron spatula and then burned in.

After the technique was lost in the Middle Ages , attempts to reinvent wax painting were first made by the Spanish painter Velasco (1715–1720), by filling the outlines carved into the wax base with melted wax paints and then smoothing the surface.

Around the middle of the 18th century, Anne-Claude-Philippe, Comte de Caylus , Bachelier and Michel Joseph Majault believed they had found the right method and since then further research in the field has followed rapidly, but all these methods were soon forgotten.

It was not until the 19th century that the writing The Colors of the Painter Jakob Wilhelm Roux (Heidelberg 1825 to 1829, 3 booklets) caused the matter to be resumed. But there was no publication of using the wax as a binding agent.

Jacques-Nicolas Paillot de Montabert ( Traite complet de la peinture. Paris from 1829 to 1830, 9 vols.) Recommended as a binder , a drawn of wax, slowly volatilizing with copal mixed and some liquid wax oil, which, as the oil paints, should be applied to any ground. The finished picture should be provided with a kind of wax milk made of wax dissolved in alcohol. For the paintings in the Königsbau in Munich in 1833, a binding agent consisting of dammar resin, turpentine oil and wax was used, with which the painting was then coated instead of varnish. The baking of the colors, which was used at the beginning, was later omitted.

Léonor Mérimée ( De la peinture a l'huile , Paris 1830) looked for a binder made of oils and resins in the paintings of the 15th century, while Friedrich Knirim, in his work Die Harzmalerei der Alten (Leipzig 1839), looked for a mixture of ancient and medieval painters Painting a liquid resin as a binding agent, similar to the copaiva balsam, and recommended the same, combined with 1/30 wax, also for today's art. Before that, Friedrich Lucanus zu Halberstadt had recommended the Kopaiva balsam unmixed as a replacement for the oil in 1833 .

A procedure specified by the painter Franz Xaver Fernbach (1793–1851) was used in the murals in the Hohenstaufensaal of the New Residence in Munich. The binding agent here consisted of a solution of solid resins diluted with turpentine oil, which evaporates immediately after application. The technique is as convenient as oil painting.

The painter Albert Eichhorn in Berlin ( Wall painting in a new technique , Leipzig 1854) developed a peculiar way of doing wall paintings , with wax playing a leading role.

literature