Varnish

Varnish ( m) is a clear protective coating, where the term depending on usage and age has a slightly different meaning: In the painting technique he calls the paint and binder boiled linseed oil, while including in painting and painting restoration a transparent cover for protection of paintings, especially oil paintings, of course.

In the 18th century it was understood by all clear varnish coatings, ie both boiled linseed oil and resin solutions ( shellac in alcohol) and Wasserfirnisse ( gum arabic in water or simply hide glue in water), and thus that which is now called the paint. This term was in fact only with the increased use of shellac after 1800, whereby he repressed the word varnish in the border areas painting varnish, boiled linseed oil, or as a synonym for patina.

A distinction varnishes oil, resin, turpentine and alcohol. A regional peculiarity is varnish from Chiaöl, which is particularly valued in Mexican painting. In the 19th century, artists used also like slightly tinted varnishes to yellowed new paintings and thus to make it look older. Therefore, the modern use of the term patina, which only the Italian term for " varnish " was originally.

Also, the clay slip used in the black-figure vase painting ( glossy slip ) at is referred to in older literature as a varnish. The Malschlicker made ​​of the same material as the vessel and only differs in the particle size; after the fire he gets his black color.

Etymology

Varnish is derived from the Italian vernice, Veronica about the medieval Latin, Veronike from Middle Greek beronike, pronounced, probably from Berenike, today's Benghazi, a city in the Libyan Cyrenaica. From there, the natural resin Sandarak was imported earlier, which was originally used as a varnish. Into German the term came about the French word " le vernis ," is derived from the way the " Vernissage" (opening of an art exhibition).

The derivation of varnish or vernis of an alleged proper name " Martin Vernis " is, however, wrong. The concept of " Vernis Martin " means all French lacquer work of the 18th century on wood ( paneling, carriages, furniture, boxes, etc.). He goes to the brothers Martin ( Guillaume, † 1749; Julian, † and Robert 1783, † 1766; Etienne- Simon, † 1770) back. The Brothers Martin developed a paint that has been referred to as " Cipolin " and was used for imitation of Chinese and Japanese lacquer work. 1730 (1744 updated) received Guillaume and Etienne- Simon the exclusive right to produce " Vernis Martin ".

Between varnish

When images are built up in several layers, it is found that the lower layer absorbs a large part of the binder of the top paint layer and thus this appears dull. Thus, the altered color effect not irritated at other work processes, an intermediate varnish is used, which brings out the color to the fore again. The intermediate varnish should not contain wax.

Schlussfirnis

The final varnish is the top layer of an image that is supposed to protect it and ensure a uniform gloss effect. To renew the varnish, it should be removable. A good varnish preserves the painting and brings out the colors to fully develop. He should be highly transparent and must not turn yellow.

Two materials are particularly

• Dammar, dammar is a natural resin. Dammar provides a high gloss surface with emailleartigem deep shine, as it preferred the old masters.
• Beeswax is a natural preservative and provides a satin sheen.

By mixing of the two materials, the effect can be reduced or increased. Both have in common that they dissolve in turpentine and can always remove.