Manuel of introduction in painter's job laqueur decorator

 

 

Synopsis and context of the work of Manuel Diez Matilla

 

Revision in Thursday, April 7th, 2011

 

By Christian Diez Axnick

 

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Especially, we display the very very warm glue in the knife, the warmest possible, by watching not to burn.

 

B) The sanding of furniture, tables and panels

The sanding is more delicate with panels. It is necessary to go there more slowly, with very few water at the beginning. The main part of the sanding makes dry. Once these sanded we again let them dry. It is only then that we are going to stick them. Panels are the highly-rated and the top of furniture, doors.

By means of a tool and of a rule, we can already bound the outlines of the panel, even sometimes but rarely that of the Greek, and cut him in the chisel.

Panels are always often painted and curled up in a ball before the stage of the veneer.

If we want to make manual craquelure, it is also thus before the veneer, not later.

The piece of furniture can already have been sanded before being stuck, especially if it is dry, but anyway, it is after the veneer of the panels that we shall let dry before sanding again until the finishes.

a) The veneer

It makes so very very warm, it is even the stage or the glue has to be the warmest possible. We use a knife.

Before the veneer, we can we have just told it to make craquelure having cut the panel.

For it we place it back to front on a plane surface, a table, with a carpet over. By means of a hold we go to a sense until obtain a manual craquelure.

Once this operation was ended, we are going to stick the panel, which let us let us specify it can already have been painted. It is even better if it was already painted, because it allows to verify in the passage if it was well sanded. Generally it will be of the yellow for a piece of furniture leather and of the white for a piece of furniture or a table ivory.

The glue being ardent (but never of boiling as usual), by means of the brooch, we coat with glue the zone of the piece of furniture or will come the panel and we coat with glue also the paper on the back of the panel. The brooch must be soaked well and stick it not necessarily too thick, but however substantial. Without losing of time, and by going very fast, we stick then the panel by using either a knife or a hold.

We manage the glue towards outside, the quite very warm, and we clean the outsides with a wet sponge to remove the glue which comes too. The panel is stuck in the piece of furniture or in the table and stuck. Everything has to be made accurately and very fast not to leave with the glue the time to cool.

Later we shall hand on a light coat of glue on the angles of the piece of furniture to the case or some glue would have left with the frictions on the holds of ground dressed in carpet during the veneer.

V. The decoration.

A) The cellulosic lacquer.

His advantage is in all the range of colors of cellulosic lacquers and in the wealth and the light, the luminosity of its pigments.

Three complementary colors, namely the yellow, the red and the blue allow to obtain very appropriate colors. Colors must always be very appropriate on the pallet, especially the white. The ranges of greens are very important and very beautiful for example in cellulosic lacquer, quite as for blues.

 Oranges are very beautiful, more still if they are not completely diluted, but let escape from imperfections. Colors earth are less supplied and less rich than in oil painting. On the other hand, the cleanliness of colors, on tones created with additives, patina, allow to make things, landscapes of a depth which we could not almost create with the oil painting.

They are pleasant colors, on the warm or cold ranges. We can as in the oil obtain neutral tones, very beautiful grey, from broken colors, from broken blancs. Only the yellow of Naples and the flesh-coloured tones remain more reserved for the oil painting. In other ornamental domains the cellulosic lacquer outclasses almost the oil painting, in particular by its cleanliness and the transparency of its ranges.

The decorative motives are made either with the lacquer or with the gilts.

 Until now, the cellulosic painting especially treated the Chinese or Japanese art, the Asian art, thus the Chinese furniture, what corresponds well enough to the sumi-e in watercolor. The technique with the hairs of the brush is very similar, mixtures also, as we soak little or many the brush, as it is fine, very fine, average or rather thick.

We can make funds with thick brushes.

The advantage of the cellulosic lacquer, is that we can also create surépaisseurs, high reliefs, by adding him of powder of whitening and by working it with a small knife. His thinner is the cellulosic thinner, its varnish is the cellulose varnish.

The cellulosic lacquer allows to realize excellent exotic, aquatic, Asian landscapes, any sorts of decorative motives. To make them we use of the talc and leaky and covered sheets of copy. We press the pear full of powder of whitening on the copy. The white points serve then as mark for the motives.

As a rough guide, I saw aquatic landscapes made by my father, with one on tones, tens of stages of decoration, lightings, shades, which carry very high what we can make with the cellulosic. Hours are needed to realize certain decorations, and only the cellulosic allows to free itself from certain difficulties or to overcome certain pictorial, floral imperatives.

We can also with thinners and cellulose varnishes work with golden powders of various pigmentation, not only the gold. They are special powders, less fine than the fugine.

b) Patina

Patina allow to age decorations by using mostly some asphalt but also on tones of varied colors added to the turpentine; sometimes also we use a little oil painting by way of on tones. They are used to warm or cool tones during the decoration, leaving of the principle which one on yellow tone warms and one on your blue cools or takes away.

Its essential object is all the same to age the piece of furniture or the table at the end of decorations by standardizing the tone of group. More uniformity gives more coherence and insurance to the work.

 Then with a cloth we can remove of the patina and the asphalt in certain zones to make spatter the bright places left lit. It emphasizes advantage the cloudy lightings.

Let us note here that ironworks are skated as and with the piece of furniture.

c) The polyester

The polyester is a very very hard varnish, which more and more serves as apprêtage, because it becomes level on surface, and becomes very hard and transparent. His only inconvenience is that we cannot work on the cellulosic, we have to content themselves with collages or with watercolor. He hardens very fast. Often, we use cardboards of color or posters under the polyester. Big watercolorists, as Le Guennec, or Kinzinger, whom my father knew in Montmartre and which crossed two years under the fire fed by the German machine guns, could use the water with the polyester. Kinzinger liked very much making religious scenes on the life and the decapitation of Saint-Denis.

d) The work in the pistol compressor.

The pistol compressor allows to follow the hand work, for example for funds, and to create clouds, by associating 2 or 3 colors. For example clouds of red on the yellow will give with the smoking a dark and warmed leather. Clouds of red so allow to give a warm and orange-coloured tone to the final harmony.

The same thing for the cold tones, the blues, the greens with their infinite ranges in the brush.

When we smoke the piece of furniture we thus use a dosage of asphalt, cellulosic thinner and varnish. Yellow pass directly in the leather. Patina later will allow to limit or to strengthen as we shall add a blue or red ( surtint ) colouring agent.

 It is possible, at least I have the vague to remember having seen my father making it very long ago, to work neutrals, these brown and ochred tones which are of use as bottom to the landscapes.

 A little as the XREF for the software AUTOCAD in computing, which is the world standard in technical drawing. This bottom possesses a tone and a neutral color (8 or 9). It is the same large-scale thing with a piece of furniture. And as in decoration the first layers are very important, and it is where one needs that no varnish, but basic pigments which will help afterward, it happens that we make it for the pistol, but it is rare. It is possible however.

It is clear that anyway every bottom is specific, and anticipates the colors of the decoration to come. We can make nevertheless already a light layer of varnish to equalize the bottom before beginning to work all the decoration on the hand. But it remains out of the question to put too much of varnish in the transition between the pistol compressor and the resumption in the hand of the decoration. The varnish is as usual only for the end.

 It arrives, as for the airbrush and the polyester, that we use hiding places, but generally in cellulosic, these are maintained in more than 10 or 15 cms of the decoration.

We can mask nevertheless in certain cases for example the Greek if they were already burnt with a roller of adhesive tape.

VI. The Greek, the engraving.

The Greek are engraved on the outsides of panels and sometimes medallions. Their exact motives are variable. To sharpen tools we bend the tool by twisting it then we sketch the point with a small grindstone, then the point is cut with a stone on which we put a little saliva. We make the tool come the other way around.

The point must be good in the center, and bent back.

 Then we place the lower left thumb of the instrument, the index and major coming to close the tool, the index above.

We also employ a wooden slide located and increased by painted notches every 3 or 4 centimeters, following the length of the Greek, as well as two steel rules. A big and a little.

With the big steel ruler, having pulled the first lines vertical to the hand by using the wooden graduated ruler, we pull the first horizontal lines on both sides. The whole describes and looks as S of set square aligned in length. Then with the small ruler or directly in the hand we close the Greek of stage in stage.

 It often happens that we engrave varied motives, and also decorations, that is sheets, trees, flowers. It requires a whole learning of the standards of engraving.

The engraving of decorations, floral landscapes is codified enough according to every craftsman.

Sometimes we put some gold dust in the striation, and with a sponge, we remove it plane surfaces. This one is in a handkerchief or a scarf in bulb which lets it spread on the surface and especially inside the striation or the gold dust will stay.

We engrave so sometimes nets, but less often. It is rather when these will be gilded. To the workshop, it is I mostly that made the Greek.

VII. The gilt.

It is these Greek which when the decoration will be finished will be coated with mixture and gilded or silvered in the sheet. These same gilts will be slightly skated and standardized everything at the end.

Previously, we shall a little have highlighted the red of the mixture with a moistened white powder, a sort of talc, so as to age the gilt by making little return the red of the mixture to give her a rusty tone. Indeed, the mixture is either a craft transparent mixture of the trade, or mostly and it is more economic a glycérophtalique painting of red color, which we shall highlight thus slightly to marry her with the gold. The gold is little aesthetic when it is alone, it has to win everything to be emphasized by different agents.

Une solution à base de bitume permet de raviver la dorure pour finalement la protéger avec de l’alcool. Il ne faut pas se tromper dans le traitement de l’or, et je ne me souviens pas de toutes les recettes. Il ne faut pas inverser les étapes.

VIII. Patina, on tones.

Patina add up of on tones. A lot of people does not know how to skate, because this operation asks for a big physical strength at the level of arms and of front arm. Indeed to skate request of the physical capacities, a big vigour in the work, and it is the most important.

It is easy to skate badly, badly to skate means arranging a standardized dark color, what people make mostly, including with the modern comic strip. I think in particular of the airbrush in the water, which in reality is only taking back an unimportant part of the principle of the real patina, of which one of the essential purposes remains to age.

In furnishing, we skate at the same time to age and to give more quality to the lightings and in on tones, we never standardize completely the work, on the contrary, we leave her a little bit irregular. For it we add very few turpentine with the asphalt, and it is made in the strength of arms, by resting(supporting)

For it we add very few turpentine with the asphalt, and it is made in the strength of arms, by supporting hardly and by moving forward irregularly, but gradually.

Many craftsmen, including the Asian, do not know how to skate. We do not skate if it does not there take place to make it, as on mother-of-pearls for example in the unnecesary complications, nor on polyester.

The patina is a part of a whole, an artistic group colors, of ranges, lightings, a composition. She asks for vigour and for physical strength, for very few turpentine, for a clean surface cleared of any dusts.

It is the most important stage, the one who will give not the uniformity but the final character of pigments. We cannot take easy her, and it is by the sweat of his brow that my father decided on finishes, by paying of his person. It was not necessary question to put a strong dose of turpentine and to wait that all the decoration marries a single uniform tint, that never.

A good patina requires a major power and a vigour of execution, associated with a strong ornamental understanding, with a good interpretation of decorations.

IX. Varnishs, finish.

Varnishs come everything at the end. They serve to fix the patina to the lacquer and the whole decoration. Their composition as that of the patina can vary slightly, as they will have more varnishs or more turpentine, as they will be more or less liquid or thick.

It is better to make them before the gilt, because the finishes are alcoholic. You should not too much put it on the Greek.

The colorless varnish has for principle to be passkey, and to fix well the lacquer.

The patina have especially to be very dry and penetrated well before varnishing, and the varnish neither has too much to have to be diluted, nor had to have to too thick.

For this stage, the pistol compressor is rather indispensable, at least more than everywhere else. His regulation is made at the same time according to the pressure of the pistol, and also according to the distance with the support.

X. The repairs, the rebouchages.

The repairs are what costs most expensively to the craftsman and what interests him least financially.

But he has to make them, because it is a security of stability and seriousness for his company. When it is done well, conceived well, and fast made, it's good. It should not drag on or be badly made.

We repair well on by reusing some whitening, that is some glue if the wood is in nude. If the wood is not in nude we can employ some cold cellulosic lacquer, mixed and thickened with some powder of whitening.

 It is always necessary to clean and to dry-clean the surfaces of the piece of furniture or the table which took knocks and which are to repair. We can when we go to the private individual to repair directly by taking a little coloured varnish, about as the one who is used during the smoking, so as to make up the imperfections and the defects.

It is also necessary to warn the customer and to warn him. It happened that a customer puts a warm and ardent iron on the decoration of a table. The lacquer is fragile, and even in time, when for example the humidity begins to penetrate into apprêtages as soon as a hole or a small boho formed. The wet corners are disadvised. Such furniture more has to win to have spaces empty and aerated on both sides.

 Oil painting, in the water, pastel, cellulosic lacquer, decorations, still lives, the landscapes can be handled on all the possible and conceivable supports.

XI.Conclusions.

We saw it, the offensive against the old corporate association exists, it is real. There is a real confusion which took place between the modernization, the progress, and what we made, that is we attacked smokestack industries while they are the prerequisite, the prelude to all the industries. And it under the pretext of modernization, without taking into account the quality.

It is alarming to notice how budgetary masses, important subsidies, go to modern and creative said sectors of employment, and not to the others more creative of employment. Any training judges itself on the level and the quality.

Multinationals do not understand it of this ear and look unfavourably on the pool of jobs which represents the small business sector and understand only their profit.

To counter-attack there is/are not only the law of the number, but it is clear that some only individuals can nothing. The cottage industry would have to can have the same economic power at the time of counters, and we have do not still to be there for the moment.

 There is no joint plan on a national scale, it belongs to the industrial partners to decide on it and to sit down at the same table.

 Finally, it is necessary to pay tribute to those who made the profession and fought all their life for her, those about whom we never speak, whose good faith is not to be any more demonstrated, and not to those who shot down her by hijacking the principle of the tax ( the URSSAF - French Body Managing Social Security Patments And Funds ) in their own profit and for bureaucratic profits.

 Who says at the end about the small business sector said at the end of the freedom to undertake and at the end about the freedom every court. We shall never insist enough above.

 The last three years of the life of my father took place in Montmartre, district which he knew like the back of his hand. The district of the watercolorist Kinzinger, which spent two years under the fire of the German machine guns. He liked very much making watercolors on the life of Saint-Denis as I said it. My father knew all the district, and all his history, of Charles-Nodier to Marcel Aymé, until Cézanne, Van Gogh, Utrillo, Gen Paul and so many others. All the big painters before, hanging and after the impressionism sound past there. In particular by the museum of Montmartre, in 12 street Cortot or he painted and worked. The wash-shed of Picasso is just below.

He was member of the association " Les amis d' Utrillo " and also admirer in the basilica of the sacred - heart. Often went to us to the mass of 10:00 pm, and he knew well people, regular customers of the district, people of the Mound in a way.

 He painted a lot in Montmartre, especially views with Marthe Vertex (and not Berthet), widow of the poet Jean Vertex, who often has him served as model.

 Utter and Suzanne Valadon, the parents of Utrillo, lived in the apartment, below which lived Claude Estier, which my father also loathed and who was never there.

Just to the right. It is in these floors that my father saved a lot of sculptures and objects for which he made and put workbenches in joinery.

 In the floor above its apartment accommodated Claude Charpentier, whom my father hated excessively, he made an incredible noise, with his daughter, whom I have never seen and who was I consider paralytic.

  Paul Yaki speaks in " The Montmartre of our twenty years " p. 103 to 105 of Octave Charpentier. He describes very well the 12 street Cortot in these pages. Raoul Dufy passed there also, Emile Bernard also.

 Carpenter held somebody, doubtless his daughter. My father did not stop cursing him and giving quick sweeps to the ceiling to make stop the noises of groans. Although it is there, he considered him as a "cheat".

 We could as regards this artistic period of his life speak about hypozeuxe (or parallelism). Mrs Vertex was one of only persons who relied on him, and whom he trusted, the former owner of the apartment of Utrillo as we said it. We could also speak about énallage, which is the exchange of time, of a number or of a person against another time, another number, another person. She was a woman of transition, his hégérie and his last muse.

  He made some self-portraits which contain a certain anxiety and a certain interrogation and intro or review, as the paintings that he made with blue and green cold tones of my grandmother evoke well enough her disease, the alzheimer. His painting stuck very closely on the subject.

In the time, because Montmartre is the last time of its painter's life, and a little his district of adoption and death, I had taken him to the lounge of the independents to expose with the Catalan painter, the surrealist Prudencio Salvador Asencio, the friend who had come home to this opportunity.

 He often went to the basilica, or he knew a hurdy-gurdy queen blind person; he was an admirer, his friend father Charnin, Swiss priest, often came to visit him to the museum.

 Synecdoche, metonymy and metaphor are three tropes more collectively called figures of sense which we find in his work. The synecdoche is based on a relation of inclusion, the metonymy on a logical continuity (take a stand with the whole), as for the metaphor, it is based on a relation of analogy.

In fact, we find many stylistic devices in his work, even if this one is difficult to interpret.

It is true that the painting humanized, became more democratic, and even spread on a large scale, but after all, we little spoke about the painting to the twentieth century of an intellectual point of view.

The only ones who gave another image of the painting are the successors of Freud and Jung, the Lacanian, I think in particular of Ollivier Kaeppelin, or some other schools of psychiatry in Europe. Let us say those who explained a party of the painting by stylistic devices. Since Aristote until the tropes of the twentieth century, many things evolved.

But for the rest, and it is a constant, we left the artists little aside.

And then somewhere, an artist is always a little bit crazy also.

 My father knew in his lifetime many of the big artists, we could not all quote them. But during his life, he was went alongside to a large number. He had the opportunity to take a stand for Francis Bacon in front of a journalist, who is a little in England the heir of Turner and Edward Burne-Jones, in the sense that as my father he tended to create disorders and to awaken the sensibilities almost everywhere. He also knew very big Asian, Italian, French, Spanish artists. He liked very much Fujita, and this famous American photographer, Man Ray.

 To tell the truth, all passed by the museum Cortot, which acts a little here as funnel of the Mound, it is the place of certain vulgus sung by Francis Carco and many others, just a little higher than the Agile Rabbit. Artists of any tendencies, all the circles, found themselves there.

Montmartre is a little a galaxy to part. Montparnasse is a small answer.

It is rather the district of the Americans.

 It is clear to take a little of height of view that Jesus is Turkish piece to a certain extent, Turkey were one of country to the world which has the largest number of holy places any merged confessions. It is there either is the grave of the Virgin Mary, the place or Paul was imprisoned, or are the rests of the prophet Mahomet. Really, we say that the mother of Jesus simply lived there, it is everything.

Although Jesus besides Greek and besides Hebrew spoke about the Aramaic, about language to which is rather close the church Chaldean, so criticized assyro as soon as Ministers claim to show secularism. The word Jesus has the shape of a fish in Greek.

Moreover, I knew Rénara Delatre, one of the biggest Greek Azeri and Turkmen pianists of the world, the origin. The fact that the Christ has a universal title, is of for the reduction in attendance of churches, for the crisis of the vocations. It is also a way as Saint Thomas to reduce things to their simplest expression, to the main part.

I would say that the discovery of the gospel of Judas should bring a major lighting to the civilized world.

I remember having gone to a mass with Nina in tribute and in memory of president Poher.

The church of France is more active than we believe. And especially, she shows modesty, attention and moves forward only with infinite precautions.

Certain current Ministers, who do not hesitate to call up to the racial hatred against the church, or qualify her as sect, are people who in a normally constituted democracy, should be considered and to go to prison. Their ignorance keeps pace with their totally upstart conception, ENA alumni do not know how to any more or look of the head, do not stop attackingshort of young Ministers.

Very opportunist people are got through one more time the stitches of the net.

The separation between the church and the state is a thing, but what consists in decreasing whole pieces of the official church is the other one. It is for the justice to seize such declarations.

It is another shutter of our society, that of the laissez-faire, that of a totally instrumented parliamentary bureaucracy, that plays his partition indefatigably, strikes its knocks against the most miserable, the poorest. As if it had become overnight shameful to build an oriental assyro Chaldean church or a mosque.

A force of opposition, a capacity of reaction and uprising is missing.

And only the people can suggest solutions, at the need to rage, punishing people who express themselves according to them in the name of all and of the quite whole national community, nothing less. It is necessary to endow our institutions of a real judiciary against François Fillon and the other gravediggers of the republic.

 The genius of the artists of yesterday, that of the artists of tomorrow, will always be to amuse, to enlighten the masses by refusing to bend the spinal column in front of decreed standards as we oppress the poorest layers of the population.

An artist produces wealth with his own hands, he does not have to be ashamed there.

Those who should be ashamed today, it is all the politicians' troop who made of the fifth republic an anteroom of the third, a merciless system or any initiative is irreparably stopped by those who think of having the right to decide of what is good and what is bad.

 It is their own reading of the right that has no sense. The main crisis of the democracy lies in the simple fact that we can admit that the right is governed by such a way by some some, hammering constantly the vision of the world.

As wrote it Gautier: " any soul is a sepulchre where are lying one thousand things ".

From there same way, it will be a question one day of continuing the accomplished work, and of continuing the road which was drawn. Sartre criticized Gautier notice, I believe that he was right a little bit also to distance himself already.

My work and my experience crossed as archivist in the Louvre of the Antique dealers at the same moment as the works of the travel of the Mona Lisa reminded me that the Louvre is the biggest museum of the world, the symbol of the art in France.

France is not a democracy as the others. The proof is there that we made tons of zyklon B to Villers-saint-Sépulcre, in the Oise, during the war, as we produced it to Dessau, near Halle, in oriental Germany. The country knew its dark hours, its hours of chaos and ugliness, as all other countries.

The homeland of human rights widely collaborated in the destruction of the western civilization.

But when I read the works of the mathematician H.E. Huntley on the golden section, when I measure the infinite area of what can bring the mathematics to the art, I notice that the hope exists, he is tangible and tangible. And I catch examining and formulating mathematical hypotheses, because as wrote it Poincaré: " the experience is the only source of the truth ".

Saint Louis made about twenty times to the abbey of Royaumont, where I found the book of the English mathematician H.E. Huntley and Marguerite Neveux. The recoil taken on the civilizations of the antiquity gives another outline of the mathematics, which aims towards the synthesis.

This experience, this approach of the beautiful, for example the reports between phi ( φ = 1,61803, φ’' = 0,61803 ), the golden section, and pi ( π = 3,14 ) or the other very numerous mathematical dimensions in the field of the geometry and of the algebra, this office of the artistic construction of which √ 5, allows us to get closer to a picture which would be the one of our current report in the art and in the beauty, that of the image of our own dimension thrown on our architectural and other realizations.

 The man suffered from his experiences, and he again has to learn everything. The works of Fibonacci ( Léonard de Pise), its famous continuation, as Pascal's triangles, the Chinese triangle, are so many elements which prove the age of the investigations within the mathematics and the considerable importance of the golden report.

The myth of the golden section φ = ( √ 5 + 1 )/2 and φ’ = ( √ 5 - 1 )/2 extends in the music, in the painting. We find it everywhere in the nature. We find it in the technical drawing, of the building, the plumbing, the air conditioning.

We always find it a little bit by surprise, unexpectedly In the Greek, in the floral decorations, in all which returns the substantial and constant small business crafts.