All oil used in NORMAL painting has to be diluted. Pure stand oil would 
create enormous amorphous buildup. It has to produce thinnest possible film 
to be stable. Bees' or sinthetic wax is added to all artists' oil paint for 
added stability.
The problem with linseed oil or any derivative thereof is that it NEVER 
really oxidizes and still "moves" hundreds years later, in spite of "drying" 
overnight, which in turn creates problems for restorers. The preservation 
department at the Metropolitan Museum thus always uses acrylic to patch the 
damaged areas.
Our Ken Be is presumed to do the same at Cleveland.
RT


> Yes,  I was aware of the widespread historic use of linseed oil in 
> painting: in your expert view is there an optimum time for using stand 
> oil? By this I mean, at what level of oxidation does it become unworkable 
> for painting before the use of alcohol or turpentine is required to thin 
> it.  For example,  I have some stood for 10 years which seems almost solid 
> but when rubbed breaks down ie liquifies to some degree - the only problem 
> with this is that on instrument bellies (especially lutes) to break down 
> such a very oxidised oil can require so much pressure as to put the belly 
> and bars in jeopardy. On the plus side, however, it hardens overnight!
>
>  I generally use stand oil which has aged/stood for 3/4 years.
>
>  MH
>
> Roman Turovsky <[EMAIL PROTECTED]> wrote:
>
>
>> True Stand Oil is extremely thick and viscous (rather like treacle) and
>> hardens as > a surface film rather than 'soaking into the wood'. It is
>> applied with a stiff
>> rubber and cannot be 'painted' on. Have you any experience of it?
>>
> I use use Stand Oil for all of my painting (seen at http://turovsky.org). 
> It
> is my favorite medium. It easily thins out in mineral spirits or 
> turpentine.
> RT
>
>
>
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