Cremnitz White in Walnut Oil Michael Harding Oil Colour

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It is the feel of this paint under the brush, I think, which constitutes the most compelling argument for its revival. My artist friends have characterized its texture with words like “voluptuous” and “silken”. There is certainly a flow to it which is quite distinct from that experienced using the other oils. One can sense how this had to be the only means by which those precise yet creamy highlights of ruff collars and shot silks were attained by baroque portraitists. Whilst retaining the properties we so value in lead white, walnut oil adds to this paint a cool smoothness which is quite unique. Some of the artists who have tried it tell me that from now on they will paint only with this white.

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Cremnitz White in Walnut Oil Michael Harding Oil Colour