Egg tempera revisited

May 10, 2011

Anna, #17, egg tempera, silverpoint and india ink

Anna, #17, egg tempera, silverpoint and india ink

Although I’m a huge fan of egg tempera, as a medium I generally use it for underpainting.  It’s quick drying and relatively easy to manipulate, establishing firm graphical forms, through firm graphical brushstrokes that tend to be light in tonality. But for creating soft, smooth, subtle gradations that’s not its forte unless you have boatloads of patience.  So in my book, that makes it great for underpainting, but as a stand alone medium, I’m not a purist, at least, not yet.

However, in my most recent “puzzle” painting project I planned to do just that.  Each of the 25 squares involved were developed in silverpoint, india ink and egg tempera – as underpainting or underdrawing, respectively.  Then, many of those panels received a further development in oil or wax or a combination thereof.  But, I planned to leave 8 of thsoe panels alone remaining as a  treatment in pure egg tempera, so for those 8, my skills in manipulating the medium had to suffice.  Would they?

Anna_08

Anna, #8, egg tempera

The trickiest section by far was the face (which I left for the last).  Early on I had decided to underpaint all the flesh tones with green earth, or terra verte pigment, similar to the Siennese painters of the Renaissance. (At that stage the figure looked rather ghoulish and I had to console myself that it would change.)  Darker facial details were also painted with the same green earth.  As I began to overlay with my warmer colors, the face came to life.  Great!  That particular facial square had also received some pre texturing with sculpting putty so the sculpting contributed in its own way, for example, the hair on the left only required of a few layers of burnt umber as a wash.

The final mixed media collage can be seen here.

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