Lead white of fine particle size

Marya Albrecht <marya.albrecht [at] live__nl> writes

>For my master thesis in paintings conservation, I am searching for
>paintings in which lead white of a very fine and even particle size
>has been used.

More on lead white pigment:

Lead white as an indispensable painting material is mentioned in art
treatises from the earliest times until a very recent history when
its usefulness waned due to the advent of acrylic based paints. Lead
white is still used as a pottery glaze, but was banned as household
paint due to its toxicity.The latter only harmful if ingested and/or
inhaled when removed by sanding.

In fine art painting lead white was not only present in the
preparation of grounds, but its drying powers were used to make oil
more siccative, a necessity for pigments which were notoriously slow
driers.

I have been teaching a course on Historical Techniques of the Old
Masters for a number of years and the use of powdered pigments could
not be avoided if one was to understand past methodologies, as the
modern paints are a far cry from what the old masters were using.
Due to the need to extend their shelf life as well as greater profit
modern oil paints (regardless of the cost) do contain additives
which make duplication of certain techniques impossible.

Aware of dangers when using pigments in a powdered form all our
studio students had to attend a lecture on safety and "no food in
the studio" was strictly enforced. Making pigments available in
extremely small amounts (a thimbleful goes very, very far) damaging
spills, i.e. airborne particles were greatly avoided. The only
concession made to "modern" material was concerning the lead white.
When this pigment had to be used it was always made available
already mixed with oil. The students were cautioned not to touch it
with their hands and to promptly clean implements as soon as the
work was done.

In the past, the greatest amount of lead came from gasoline, food
cans, and other products from which it was removed in the 1970s and
early 1980s. Despite reductions in exposure following OSHA's 1978
publication of lead standards most lead contamination still comes
from workplace exposures; lead mining, refining, and smelting,
construction work involving paint removal, demolition, and
maintenance of outdoor metal structures such as bridges and water
towers; auto repair; and battery manufacturing and recycling,
however no records exist for artists' use.

In conclusion: with proper education of our students to know that
not just white lead, but many other materials are toxic and require
knowledge and awareness risks can be greatly reduced. Banning any of
these materials would seriously limit artists' choice and downgrade
it most likely to

I see a far greater risk to students who indiscriminately use
various solvents, including some felt pens, spray varnishes and the
likes than occasionally squeezing an inch of lead white from a tube
if they were previously forewarned of the consequences.

Srebrenka Bogovic-Zeskoski
Painting Conservator, Toronto


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                  Conservation DistList Instance 25:44
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                       Message Id: cdl-25-44-002
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