Tempera (also known as "egg tempera") is a type of artist's
paintand associated art techniques that were known from the classical world, where it appears to have taken over from encausticand was the main medium used for panel paintingand illuminated manuscripts in the Byzantineworld and the Middle Agesin Europe, until it was replaced by oil paintingin Europe. It has remained the required medium for Orthodox icons. It is paint made by binding pigment in an egg medium. However, the term " tempera" in modern times is also used by some manufacturers to refer to what is called in America poster paint, [In UK English this is a dry powder, to be mixed with water] which is a form of gouachethat has nothing to do with real egg tempera.
One might observe simply by washing breakfast dishes that
egg yolkdries quickly and adheres firmly. Tempera was traditionally created by hand-grinding dry powdered pigments into egg yolk(which was the primary binding agent or "medium"), sometimes along with other materials such as honey, water, milk(in the form of casein) and a variety of plant gums. Many of the Fayum mummy portraits use tempera, sometimes in combination with encaustic. Oil paint was invented in the north of Europe during the Middle Ages (Theophilus mentions oil media in the 12th Century) and was the principal medium used from the 15th century in Early Netherlandish paintingin northern Europe. Italy, Greece, and Russia were the major centers of tempera painting. Around the year 1500, oil paint replaced tempera in Italy. Tempera continued and continues to be used in Greece and Russia. In the nineteenth and twentieth centuries there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others.
Tempera paint dries rapidly. The techniques of tempera painting can be more precise when used with traditional techniques that require the application of numerous small brush strokes applied in a
cross-hatchingtechnique. The colors, which are painted over each other, resemble a pastelwhen unvarnished, and are deeper colors when varnished.
Tempera is normally applied in thin, semi-opaque or transparent layers. When dry, it produces a smooth
mattefinish. Because it cannot be applied in thick layers as oil paints can, tempera paintings rarely have the deep color saturation that oil paintings can achieve. On the other hand, tempera colors do not change over time [Mayer, Ralph, 1985. "The Artist's Handbook of Materials and Techniques" (4th ed.). New York: Viking Penguin Inc., p. 215] , whereas oil paints darken, yellow, and become transparent with age. [Mayer, 1985, p. 119]
True tempera paintings are quite permanent, and examples from the first centuries AD still exist, eg the
Severan Tondoand some of the Fayum mummy portraits.
Tempera must be applied to an absorbent ground that has a lower “oil” content than the tempera binder used [Doerner, Max, 1946. "The Materials of the Artist and Their Use in Painting". New York: Harcourt, Brace and Company. p. 230.] (the traditional rule of thumb is "“fat over lean", and never the other way around). [Mayer, Ralph, 1976. "The Artist's Handbook of Materials and Techniques" (3rd ed.). New York: Viking Penguin Inc., pp. 165, 253.] Since the ground traditionally used is inflexible Italian
gesso, it is preferable for the substrate to be rigid as well. [Mayer, 1976, p. 269.] Historically wood panels were used as the substrate, and more recently un-tempered masoniteand modern composite boards have been employed. Heavy paper is also used.
#Place a small amount of the
pigmentpaste onto a palette, dish or bowl.
#Add about an equal volume of the egg medium and mix well making sure there are no lumps of pigment. Some pigments require slightly more egg medium, some require less.
distilled water(usually less than a teaspoon per egg yolk), trial and error will dictate just how much water is required.
Most often only the contents of the yolk are used. The white of the egg and the membrane of the yolk are discarded. After isolating the yolk and drying the membrane slightly by rolling it on a paper towel, pick up the yolk gently by the membrane, dangle it over a receptacle and puncture the membrane with [for instance] a toothpick to drain off the liquid inside.
If the paint contains too much yolk, the paint will look greasy and clumpy; too much water makes it run. So makers of paint have to finely adjust the amount of water and yolk to achieve a consistent paint. As tempera dries, the artist will add more water to preserve the consistency and to balance the thickening of the yolk on contact with air.
Different preparations use the egg white or the whole egg for different effect. Also other additives such as oil and wax emulsions can modify the medium. Adding oil for instance in no more than a 1:1 ratio with the egg yolk by volume will produce a water soluble medium with many of the color effects of oil paint, although it cannot be painted thickly.
Many of the pigments used by medieval painters, such as
Vermilion(made from cinnabar, a mercury ore), are highly toxic. Most artists today use modern synthetic pigments, which are less toxic but have similar colorproperties to the older pigments. Even so, many (if not most) modern pigments are still dangerous to be used without care, and precautions such as keeping pigments wet in storage must be taken to avoid breathing their dust.
Prominent egg tempera artists include nearly every painter of the
Italian Renaissancebefore 1500AD. For example, every surviving panel painting by Michelangelois egg tempera. American artists of the twentieth-century revival include the Regionalist Thomas Hart Benton and his student Roger Medearis; Social Realists Isabel Bishop, Reginald Marsh, and Ben Shahn; Paul Cadmus, Jared French, Rudolph F. Zallinger, George Tooker, Robert Vickrey, and Andrew Wyeth.
Other practicing tempera artists include [http://www.lindapaul.com Linda Paul] , [http://www.michelledemarco.com Michelle DeMarco] , [http://www.robinleehall.co.uk Robin-Lee Hall] , [http://www.fredwessel.com Fred Wessel] ,
Philip Aziz, Michael Bergt, Rob Milliken, Neville Sattentau, Koo Schadler, Phil Schirmer, Ernst Fuchs, Antonio Roybal, George Huszar, Altoon Sultan, Grégoire Michonze, Sarah Mceneaney, Peter Messer, Shaul Shats, Lalu Prasad Shaw, Jon Gernon, [http://www.alexgarciafineart.com Alex Garcia] and Sandro Chia(e.g. Studio 1986).
*Altoon Sultan, "The Luminous Brush: Painting With Egg Tempera," Watson-Guptill Publications, New York 1999.
*Daniel V. Thompson, Jr. (translator), Cennino de Cennini, "Il Libro Dell' Arte", Dover, the most well known treatise on painting and other related techniques
*Daniel V. Thompson, Jr., "Materials and Techniques of Medieval Painting", Dover: explanation and expansion on Cennini's works
*Daniel V. Thompson, Jr. "The Practice of Tempera Painting: Materials and Methods," Dover Publications, Inc. 1962..
* [http://www.lindapaul.com/about_egg_tempera.htm About Egg Tempera]
* [http://www.watercolorpainting.com/eggtempera.htm Egg Tempera Painting]
* [http://www.eggtempera.com/index.html The Society of Tempera Painters]
* [http://www.danielsmith.com/Learn/Articles/Making-Egg-Tempera.asp Making Egg Tempera]
* [http://www.owlpen.com/paintedclothsessay.shtml Tempera Paintings on Cloth in England]
* [http://www.eggtempera.org Egg Tempera Resources]
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Look at other dictionaries:
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tempera — 1832, from It. tempera (in phrase pingere a tempera), from temperare to mix colors, temper, from L. temperare to mix (see TEMPER (Cf. temper)) … Etymology dictionary
tempera — |é| s. f. [Portugal: Minho] Têmpera; sova. • Confrontar: têmpera … Dicionário da Língua Portuguesa
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tempera — ► NOUN 1) a method of painting with pigments dispersed in an emulsion that mixes with water, typically egg yolk. 2) emulsion used in tempera. ORIGIN from Italian pingere a tempera paint in distemper … English terms dictionary
Tempera — Tempera, s. A tempera … Pierer's Universal-Lexikon
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