Other
Tempera
Paint Recipes
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Egg Tempera (see also Egg Yolk and Egg White).
The whole egg, the yolk,
or the white may be used as a tempera medium. Doerner (p.213) gives a
recipe for using a whole egg, which requires with it an equal measure of
oil,
or stand oil, or oil varnish, and two measures of water added separately
with thorough shaking. According to him, the freshness of the egg is
important for the quality and the permanence of the emulsion. He says that
pigments
containing sulphur, such as cadmium, vermilion, and artificial ultramarine,
when used with an egg emulsion, may decompose by combining with the nitrogen
and sulphur compounds in the egg to form hydrogen sulphide, and he finds
that the addition of vinegar or phenol is inadvisable because they discolor
some pigments, and he prefers a drop of oil of cloves or small amounts
of alcohol.
Among many other present-day recipes for egg tempera is that of Kurt
Wehlte in Eli-Tempera und ihre Anwendungsarten (Dresden: Herrmann Neisch,
1931), pp. 28-29.
He requires: 1 part of whole egg, 3/8 part of linseed oil varnish, 3/8 part
of dammar resin in turpentine, and I part of water. For a somewhat
different tempera,
he suggests substituting oil for the amount of resin in this one. These are
complicated emulsions, possibly with oil as the continuos phase (see
Emulsions). A more simple
medium which makes use of the whole egg is that described by Cennino Cennini,
c. LXXII (Thompson, The Craftsman's Handbook, p. 51). He speaks of a tempera
for wall painting, made of the white and yolk of an egg into which are put
some cuttings of young shoots of a fig tree. These are beaten well
together. A very
rare form of egg tempera was developed by the Indians of Canada (see Douglas
Leechman, 'Native Paints of the Canadian West Coast,' Technical Studies,
V [1937], pp. 206-207). They used, among other mediums, eggs from
various
species of salmon,
sometimes taken fresh, sometimes dried, and sometimes worked up by being
chewed in the mouth together with a piece of red cedar bark.
The egg tempera which is traditional and reflects the practice of many centuries
is that made simply with yolk of egg. It is described by Thompson in The
Practice of Tempera Painting (p.96):
Take a raw fresh hen's egg, and crack it on the side of a bowl. Lift off
half of the shell, keeping the yolk in the lower half, and letting the white
run
into the bowl. Pass the yolk back and forth from one half shell to the other
several
times without breaking it, so as to get rid of as much of the white as possible;
and pinch off between the shells the little white knots which adhere to the
yolk. Put the yolk into a cup, and break it, stirring up with it one or two
tablespoonfuls
of cold water. It does not much matter how much water you add; a little more
or less makes no difference. You will probably develop a preference for a
thick egg mixture or a thin one as you get used to it, and either is all
right. The
main point of adding the water is to cut the greasiness of the yolk a little,
and make it fairly liquid. Pour it into a four-ounce, glass-stoppered, wide-mouthed
bottle.
He recommends adding to this two or three drops of vinegar or 3 per cent
acetic acid as a preservative and to make the medium less greasy. Into the
egg yolk
as prepared, the colors are mixed. They have already been ground in water
and about equal parts of pigment paste and prepared yolk are put together,
proportions
being adjusted to the needs of each pigment, and the whole thinned out with
water.
White of egg or glair has probably been most used as a medium for illuminating
books, and for powdered or 'shell' gold, and for bole. The traditional use
of it is described particularly in two MSS. One of these is in Naples, Biblioteca
Nazionale MS. XII.E 27; it is translated with notes by Thompson and Hamilton,
De Arte Illuminandi (New Haven: Yale University Press, 1933). The other is
published
also by Thompson, 'The De Clarea of the So-Called "Anonymus Bernensis,"'
Technical Studies, I (1932(, pp. 8-19, and 69-81. The former is of the XIV
century and the De Clarea is described by this translator (p. II) as 'a fragmentary
extract
from a lost work of the second half of the eleventh century.' There is little
to be added to that treatise so far as preparation of the glair is concerned.
The author distinguishes two kinds-one made by beating and the other by pressing.
The latter sort is squeezed through cloth and is contaminated in the process.
The beaten glair is better. The white is separated from the yolk and is thoroughly
beaten in a platter with a wooden whisk until it sticks to the platter even
when that is turned bottom-side up. Then the platter with the froth is left
in a cool
place, tilted slightly, until the glair liquid has settled out. With this the
colors are tempered. Of this medium Thompson says (The Materials of Medieval
Painting, pp. 55-56):
It is a delicate binder, very modest and retiring and inconspicuous; and
it preserves the individual quality of a pigment beautifully…Glair is rather
weak and brittle, especially when newly made, and partly for this reason (which
militated
against its use in strong concentration), partly because it was not dense enough
to bring out the full quality of some pigments, it was often supplemented in
book painting by gum Arabic. excerpt taken without editing
from "Painting Materials", Rutherford Gettens
and George Stout, pp18-20. |