Pastel as a collector’s medium has entered a renaissance era. With newly developed and newly updated materials, pastel is more desirable than ever before.
ARCHIVAL
The primary concern for art collectors has been the possibility of image degradation due to the use of non-archival surfaces, as historically it was generally the surfaces that caused problems and not the pastel media itself. Yet even with this concern, many older pastels still show little signs of aging despite being painted on non-archival surfaces. Compare a Degas’ pastel to a Degas’ oil and you will notice that the pastel emits a vibrancy of color the oil cannot, due to the yellowing of the mediums in the oil. Pastel doesn’t yellow or crack, however it must be kept under glass to preserve the surface. If handled correctly a pastel will hold its vibrant color, and its value, for generations to come.
PRISM EFFECT
A particle of pastel pigment seen under a microscope resembles a diamond with many facets. This causes pastel paintings to reflect light like a prism. No other medium has the same power of color or stability. Properly framed, pastel is one of the most permanent painting mediums.
PASTEL PIGMENT AND BINDER
Pastels are created from the same pigments as those used in watercolor and oil paints; only the binder is different. Gum tragacanth is used to bind the pigments of pastels (different from the gum arabic which binds watercolor pigments and linseed oil which is used in oil paints). Soft pastels are available in three forms: round or square sticks, created with only enough binder to hold them together; slim square sticks, which are harder and created with more binder; and pastel pencils, which have the most binder and are the hardest form of soft pastels.
PASTEL PAPER
Pastels may be applied to a multitude of surfaces, many of which are available in a wide variety of colors to complement or contrast with the painted image. Popular choices, most of which are archival, are sanded paper, boards coated with marble dust or pumice, and rough finished rag paper. The surface may be underpainted with acrylic, gouache, oil paint, or watercolor. Each artist employs his or her personal technique for the specific requirements of an individual painting.
FIXATIVE
Generally, finished pastel paintings are not sprayed with fixative and are framed using a spacer or mat between the painting and the glass. All of these properties—the artists, their creativity, and the materials they use come together to make pastel paintings so very special and appealing!
Thanks to the Pastel Society of New Mexico for this commentary.
Detail from a portrait by Carolyn Hancock
