Technique: Copies of old masters
		The old master technique of his oil paintings has impressed collectors in England, New York, Vancouver Island and Switzerland. In 1993 Devaud first contacted Prof. Mairinger of the institute for colour chemistry at the Academy of Fine Arts in Vienna. Study of infrared photos and colouration in situ was done in co-operation with Dr. Georg F. Kremer chemical engineer, FARBMÜHLE, in Aichstetten, (http://www.kremer-pigmente.com), who assisted in the choice of the right historical raw materials. 2001 co-operation with Gerhard Ruger, head restorator of the Zwinger gallery in Dresden for the planning of the 17th century flower still life. (see photo underneath)
	The process: Individual traditional gesso, foundation on Belgian canvas (US:linen). Egg-oil emusion (Egg tempura) also dual coloured streaky brushing technique. Silverpoint drawing, white crayon drawing.
	Traditional underpainting depending on work with self-ground pigments. Either in egg-oil emulsion or with sun-thickened walnut oil, aged for several years (Oleum Crassum), as well as Larch Turpentine (genuine Venetian balsam Turpentine) and Russian White Fir “Strasbourg” Balsam Turpentine. Solvent: double rectified turpentine and after 1994 shellsol (solvents of the group of the cyclo-aliphates). Multiple reworking of covered light and glazed shadows with varnish in addition to dry reacting pigments and sun-thickened linseed oil (at least 10 years old). The painting was done with the palette, 5 different long handled paint brushes and mahlstick on the easel. Varnish: natural resin wax mixture. The copies took in some instances two years to complete. His assistants got the chance to gain experience in specific background underpainting and reached their limits quite frequently. Only the continuously same daily routine over years enables, through the habits of life with the easel, the release of energy, so such a commission work can be completed successfully in even the most minute detail.
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