Variability of the use of wax in the binding of painting. Some restoration experience

The article discusses the options for various uses of wax as part of a binding paint layer based on the scientific research of T.V. Khvostenko. The technology of creating encaustic works, the composition and qualitative characteristics of mixed wax compounds, from ancient to modern, depending on the goals and objectives of the artist, are investigated. The author analyzes the layer-by-layer structure of N.K. Kalmakov's painting "Woman with Snakes". The reasons for the development of internal chronic aging processes related to the composition of the layers are being clarified. Individual writing techniques of N.K. Kalmakov and ancient Fayum masters are compared. The previous experience of restoration of easel painting monuments based on scientific publications is given. Methods of consolidation the paint layer and removing surface dirt are described using examples of well-known works of art containing wax as part of the author's binder. The article provides examples of the author's achievement of optical change in the surface of the paint layer by diluting the oil binder with wax to obtain the artistic effect of “radiance and glow of fabrics.” Based on the results of restoration work and laboratory studies of wax-containing easel paintings, the dependence of the intensity of microlesions on artistic materials on the presence of wax in the binder of the paint layer was demonstrated.