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Varnishing oil paintings sooner than six months

There is a lot of interest online in the prospect of varnishing oil paintings sooner than has been traditionally recommended.
When I was in art school, and ever since, I’ve been told it’s necessary to wait six to nine months to varnish an oil painting. For the most part, this is still true. However, after some research into the matter, there appears to be an exception to that rule in the form of a certain varnish formulation.
Gamvar by Gamblin is promoted as different from other varnishes. According to the manufacturer, it permits varnishing oil paintings sooner than others, typically one to two months or even less depending on the thickness of the paint.
Gamblin describes a “thumbnail test” to determine if the paint is thoroughly touch dry. Press on the paint in the thickest area with your thumbnail and if it does not make an indentation, it’s dry enough.
So what makes it different?
Varnishes contain a solvent as well as resin. They are meant to be removeable with solvents so the painting can be revarnished if the surface becomes dirty or damaged.
One of the problems with varnishing too soon is the tendency of the solvent in the varnish to partially dissolve the oil layer if not completely dry. This would allow the varnish merge with the paint film in a way that is not removable without damaging the paint.
According to Gamblin’s online information, Gamsol, the solvent in Gamvar, is milder than other solvents. Because of that, it’s less likely to interfere with the paint film, allowing for earlier application.
See their description here, under the link for “When can I varnish?”
This post was not in any way sponsored by Gamblin. It’s just the result of what I’ve found in answer to this question, though I’ve relied on the information on their website in understanding the issue.
Gamblin worked in cooperation with conservators at the National Gallery of Art in the development of Gamvar, so I trust their evaluation of its capabilities. Bear in mind, though, that the reliability of this method has not been proven over periods beyond 25 years or so. If you want to be careful and conservative about it, wait six months as tradition dictates.
I’ve used Gamvar before, simply because it had a good reputation. I have not yet used it on the shorter timeline, but I’ll be trying that with my next varnished oil painting.
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Winter Solstice Eye Candy: Monsted’s Winter


Winter, Peder Mork Monnsted, oil on canvas, 32 x 48 inches (84 x 122 cm). Link is to 2023 past auction on Sotheby’s; large image here from this article on the At Sunnyside blog.
Peder Mork Monsted, the wonderful Danish landscape painter, was noted for his snow scenes and their remarkable fidelity to the light and color of the season.
The view here is contra-jour (literally “against the day”), looking into the sun, which is stragetically located behind a tree. The light and shadow fan out as they approach us, the diagonals inviting us further into the scene, to the modest house and delicate filigrees of the distant trees. .
Look at how he’s indicated the reeds and grasses protruding from the snow, many set in small depressions. Note the muted colors of the shadows, the bold yet subtle value statement, and, most remarkably, the evocative way he has presented the partly iced stream.
Happy Winter Solstice!
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Ibuki Satsuki


Ibuki Satsuki (handle: Moyu Zhai) is a Chinese digital artist whose works are often wistful, whimsical and evocative.
Though the characters are manga/anime influenced, they’re not overly stylized. Of most interest to me, though, are the backgrounds and environments. These range from fantastical to more identifiable real world scenes., often with dramatic lighting and Art Nouveau flourishes.
I took particular note of the handling of night subjects in which much of the image is dark, punctuated by artfully controlled elements of light.
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Eye Candy for Today: Wyeth’s Evening at Kuerners


Evening at Kuerners, Andrew Wyeth, drybrush watercolor, 25 x 40 in. ( 65 x 101 cm). Link is to a page on Artistic Junkie, large image here.
This is one of my favorites of Andrew Wyeth’s drybrush watercolors, which is saying something, given how much I love those paintings.
This is Kuerner Farm, where Wyeth, who lived just over the hill from the farm, would spend much of his time and paint some of his most iconic works.
I’ve had the pleasure of both seeing this painting in person and painting at this location on one of the opportunites offered by the Brandywine Conservancy and Museum of Art, which now maintains the property.
The moody twilight landscape is a rich tapestry of drybrush texture. The close values and dark tones are offest by the lighted windows in the front room of the house, said to represent the “filckering soul” of Karl Kuerner Jr., who was aiing at the time.
This is also around the time Wyeth first met Helga Testorf, who was caring for the ailing Karl Jr.. She would become Wyeth’s model for a noted series of portraits, drawings and figure paintings that spanned 15 years.
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Francesc Masriera


Francesc Masriera i Manovens was a 19th century Spanish painter, noted for his full length portrayals of women in ornate dress or costume, leading him to often being described as an Orientalist.
He was particularly fascinated by the texture and sheen of the fabrics and rendering of the acoutremonts in which his models are arrayed.
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Eye Turkey for Today: J.C. Leyendecker SEP cover


Begging for Turkey, J.C. Leyendecker, illustration for Saturday Evening Post Thanksgiving cover, December 2, 1933, oil on canvas, 32 x 24 inches (82 x 60 cm). Link is to the artwork on The Illustrated Gallery, large image here.
Another wonderful display of illustrative finess by the great American illustrator. Leyendecker seems to be way less interested in the turkey or even the dogs, than the lushly rendered attire of our off-balance server.
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective







