Blue Ridge Oil Colors is going to start pre-making the medium I use and selling it in the US. (For people in Europe who don’t want to make their own, I would recommend getting it from Zecchi). If you want to make your own I also have a youtube video showing the process.
I was trying it out recently on this large plein air figurative piece, and in my sketches from Copenhagen. The Blue Ridge version dries faster than what I’m used to using. I know that’s a plus for a lot of artists and it certainly is for me when I travel. During longer projects though, like the one posted above, I sometimes like to scrape down a fresh painting at the start of the next session, and this medium dries too quickly for that -just a heads up.
The recipe is a variation of the medium developed by Charles Cecil and is originally based, in part, on the writings of Theodore de Mayerne. De Mayerne was a Swiss doctor who was friends with Peter Paul Rubens and Anthony Van Dyck. He wrote one of the rare documents discussing painting materials of the 17th-century, and he appears to have consulted with both Rubens and Van Dyck regularly on their opinions. His writings discuss straw-colored Strasbourg turpentine and thickening oil with lead in the sun, as well as many other art material related topics. You can buy an English translation online.
While I much prefer the smell of Strasbourg turpentine to Canada balsam, the Strasbourg turpentine sometimes beads a lot when beginning again on a dry painting. (Looking closely at Isaac Levitan’s paintings you can see the same beading, which makes me wonder what he was using).
At any rate, it’s a great medium for laying-in (add some turpentine), as well as glazing at the end of a project. I’ve been using it for over twenty years now and my early pieces are all in fine condition.