Part 2 – The Process
Egg tempera painting is a long process, both in
preparation ahead and development of the painting later. It is also a very meditative and mindful
process. This blog is not meant to be a
how-to of egg tempera painting (there is too much for that and excellent instructors dedicated to teaching the medium), but instead
information about this very special ancient medium for people who are interested.
Egg tempera paintings are durable, can be very luminous, and have a soft finish in the end that is somewhere between microfiber and silk with a hint of wax. This means the value of a truly good egg tempera painting is well worth the price once you understand what the artist has gone through to create it.
Egg tempera paintings are durable, can be very luminous, and have a soft finish in the end that is somewhere between microfiber and silk with a hint of wax. This means the value of a truly good egg tempera painting is well worth the price once you understand what the artist has gone through to create it.
The process also gives today’s artist something they can no
longer have – the sense they are working in the pre-Renaissance of Cimabue and
Giotto, with the Old Masters of Italy in the crossover period to oils of the 13th to 14th centuries (Vermeer, Campin), by the time of the Renaissance painters of
the 15th century (Botticelli, daVinci, Bellini, della Francesca) oil as taken over as the medium of choice. There was a revival in the 20th century use of egg tempera through
artists like Ben Shahn, Andrew Wyeth, Lucian Freud, and Isabel Bishop.
The process also gives the artist a sense of being an
alchemist in the ancient tradition. Oil
painters can also make their own paints, but less likely as so many varieties
are readily available to use straight from the tube. The range of pigments available to egg
tempera painters in raw form (same as those for oil) come from all around the
globe from natural sources (minerals and earth) and synthetic. It is up to the painter to learn the
chemistry of the various pigments, what will work well and what won’t, the
toxicity of the pigments, and to mix and use them effectively.
Substrate
Egg tempera paint must be applied to a rigid,
smooth surface otherwise it will crack once the yolk dries. Therefore panels, not stretched canvas, are used. Panels are usually made of wood although
metal has been used. If an organic
surface such as wood is used it must be a type that is stable such as birch
(other types may be used such as cabinet grade or marine grade plywood, but
prepared panels may also be purchased). Fabric such as canvas or linen can be used
once it is glued to the panel. The wood
surface (and fabric if applied) must first be sized to help prevent any future
warping due to humidity or dryness. A
size of animal hide glue is generally prepared and applied to both sides and
all edges of the panel. Once the size dries,
layers of gesso are applied.
Gesso
Next Up, Part 3 - Preparing the Egg (on May 28)