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“The practice of painting is a craft as well as an art form. Unfortunately, this part of the painter’s craft has now been taken over by the manufacturers of paints, a process that has not always served the painter well.” |
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Alchemist® Mediums is the by-product of nearly three decades of research and extensive experimentation working from historical manuscripts on the arts of painting and related crafts.
Some of the manuscript copies that make up our collection include the 15th century writing of Johannes De Ketham in the British Museum, Sloane 345, as well as the 17th century notes of Dr. Sir Theodore Turquet De Mayerne also in the British Museum, Sloane 2052, and the Marciana Manuscript from the San Marco Library in Venice, Italy.
These and other manuscripts from around the world form the basis of our collection and give us the tools and knowledge at hand to (re)create the painting mediums of the Flemish, Dutch and Italian Masters of the Renaissance and Baroque era’s.
Our unique line of products is an authentic reproduction of the painting mediums and amber varnishes used by past painters, musical instrument makers and craftsmen, mentioned in these historic documents. They were able to achieve effects not possible using modern mediums and varnishes. Our research has unlocked these secrets whereby anyone using our mediums can achieve the same optical and physical effects so characteristic of the works of the past.
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Dr. Theodore Turquet De Mayerne, ca. 1630, attributed to Peter Paul Rubens
North Carolina Museum of Art, Raleigh, NC purchased with the funds from the state of North Carolina
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During the development and fine-tuning of our products we work closely with various fine-arts painters and instrument makers. It is our belief that the craft of making varnishes and painting mediums is closely connected to the art of painting and craftsmanship in general. We hope therefore that you will participate in this process of discovery as well. And thus encourage an open discussion with our clients.
Finally, we pride ourselves on our personal approach to customer service. For any questions before or after sales regarding the best mediums for you and your style of painting or assistance after your purchase on the use of these mediums please do not hesitate to contact us.
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The old secrets and methods and how they were lost
Our research into the lost painting mediums used by the Flemish Masters has shown that the Old Masters painted in many instances with co-polymerized drying oil mediums and resin oil varnishes in addition to mixing essential oil varnishes with their paints.
The use of these mediums accounts for the long-term permanence and unique optic effects found on their paintings. In reality the Old Masters mediums were often varnishes rather than the oil mediums, as we know them today.
The most desirable of these varnishes was amber varnish made from the gemstone amber, a fossilized tree resin, which has been repeatedly recognized in early histories of painting techniques and early instruction manuals for painters (). Amber resins were known under the following names: Bernstein, Succinum, Agtstein, Glassa.
Following the deaths of Sir Peter Paul Rubens in 1640 and Sir Anthony van Dyck in 1641, by the year 1700, there remained little knowledge of the secret oil painting methods and mediums used by the Flemish Masters, due mainly to the disbanding of their studio systems.
As the Industrial Revolution approached, commercial paint manufacturers of artist material ceased making painting mediums and varnishes, causing what was most common to become lost and forgotten. Although opinions differ, research (Hill, et al., 1902) shows that even the great violin makers Antonio Stradivari and Guarneri del Gesù may have just bought their varnishes from the local "druggist" explaining their disappearance-approximately the mid 18th Century of the recipes in co-incidence with the beginning of the Industrial Revolution.
For more information see
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About Our Mediums
Alchemist® painting mediums and varnishes are made with only the finest ingredients.
Only hand-selected Baltic amber resins, drying oils, natural resins and balsams of the highest quality are used in their production. Our products do not contain driers or solvents of any kind. They are safe to use as well as being environmentally benign.
Unlike many modern mediums and varnishes our products are made in small controlled batches. This method of production, allows us to control and attain a superior quality and accurately follow the methods listed in the 15th to 17th century manuscripts, upon which our products are based. This fact also makes them well suited to the needs of today’s artists utilizing modern approaches to painting as to those seeking academic forms of expression.
Artists, using the mediums, are able to apply them in a fluid ink-like manner, vertically without the running and bleeding associated with conventional mediums.
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Our Amber Varnish is based on historical recipes, are thin in nature and do not require the addition of solvents during their production in order to make them fluid enough to apply.
Solvents and driers can be added to our varnishes if desired. However, the absence of these additives greatly extends their shelf-life and increases the volume of resin to oil in each bottle when compared to those varnishes on the market which require solvents as part of their production process.
This allows the user to control the amount (and type) of solvent that is added to the un-thinned solution of varnish.
When used as directed the Amber Varnish will form an ultra thin film of varnish which will not crack or peel. The user will be rewarded with the hardening properties and protective coatings that will add brilliance, sense of depth and transparency to paintings and works of arts long after they have been completed.
Painters and musical instrument makers using the amber-based mediums are rewarded with the permanence and gem-like quality that only amber varnishes can provide.
The properties of amber varnish has been proven by artists and painters over hundreds of years of time-tested use, as can be seen in the numerous paintings and works of art that have survived over the centuries.
The secret of the old masters’ success in producing paintings based on the use of transparencies and thinly-painted glazes lies in their extremely thin and lean nature. Despite this they did not run or bleed when painted out vertically, were easy to use and possess a permanence not found in conventional mediums, which are the by-product of modern laboratory creations rather than historical recipes. Follow in the footsteps of the renowned American artist, Joseph H. Sulkowski, as to understand the use of the mediums and what they can do for you in your paintings.
Besides the stand-alone products, Alchemist® Mediums offers two ready-made kits. They have been developed as a way to sample our mediums and also experience their ability when used together to apply multiple layers of paint wet into wet in as little as one or two settings.
When ordering the Starter Kit complimentary instructions are included. This guide includes a Step-by-Step example by painter Joseph H. Sulkowski whereby Sir Anthony Van Dyck’s “Portrait of Cornelius Van Der Geest” is painted in four stages.
We are also pleased to offer a short instructional video made by painter Wayne Campbell on the use of the mediums online.
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