About this blogger:
Gwyneth Holston is a sacred artist who works to provide and promote good quality Catholic art. Her website is gwynethholston.com.
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“It was a riveting adventure to move by degrees into the mysterious world of the Liturgy which was being enacted before us and for us there on the altar. It was becoming more and more clear to me that here I was encountering a reality that no one had simply thought up, a reality that no official authority or great individual had created. […] Not everything was logical. Things sometimes got complicated and it was not always easy to find one’s way. But precisely this is what made the whole edifice wonderful, like one’s own home.”
— Josef Cardinal Ratzinger (“Milestones” pp. 19-20) 1997

How to repaint a statue with professional results
published 10 February 2014 by Gwyneth Holston


HERE ARE MANY beautiful statues hidden under flaking paint. A few years ago, I had the opportunity to repaint a lovely statue of Our Lady Help of Christians. I have since painted several statues with the same technique shown here with fantastic results.

These are the supplies you will need: One-Shot Lettering Enamel in a variety of colors, a gas mask for the fumes, latex gloves, and cheap brushes.

It is important to begin painting on a clean surface. If there is any flaking paint, it should be sanded off and the statue primed. If you would like your statue to have a vintage feel, pay attention to the colors you use and reach for muted colors if in doubt.

The most important part of any statue are the eyes. It is not necessary to paint every eyelash or eyebrow hair. Stay loose. Don’t paint the whites of the eyes a blinding white. Make sure that the pupils are in the right location so that the statue is not cross-eyed, and then just suggest an iris that darkens beneath the shadow of the eyelid. Keep the mouth as understated as possible. Do not paint an overt smile. Some ambiguity around the corners of the mouth will create a more complex facial expression.

The enamel paint I recommend provides a vastly different effect than acrylic paint. It functions similarly to a ceramic glaze. The colors have a luminous quality and naturally flow into each other to create a flawless surface. The pigments also settle into the statue’s grooves and texture in such a way as to emphasize the underlying surface.

I always use disposable plates for mixing and just throw my brushes away when I’m done. Once enamel dries, it is an incredibly hard and durable surface. Please let me know if I can answer any questions for you!

GWYN_detail statue