____ Is a Mixture of Pigment and a Synthetic Resin Vehicle That Can Be Thinned With Water.
tempera painting, painting executed with pigment ground in a water-miscible medium. The word tempera originally came from the verb atmosphere, "to bring to a desired consistency." Dry pigments are made usable by "tempering" them with a binding and agglutinative vehicle. Such painting was distinguished from fresco painting, the colours for which contained no binder. Eventually, after the rising of oil painting, the word gained its present meaning.
Tempera is an aboriginal medium, having been in abiding employ in about of the world's cultures until it was gradually superseded by oil paints in Europe, during the Renaissance. Tempera was the original landscape medium in the ancient dynasties of Egypt, Babylonia, Mycenaean Greece, and China and was used to decorate the early Christian catacombs. It was employed on a variety of supports, from the stone stelae (or commemorative pillars), mummy cases, and papyrus rolls of aboriginal Egypt to the woods panels of Byzantine icons and altarpieces and the vellum leaves of medieval illuminated manuscripts.
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painting: Tempera
A tempera medium is dry paint tempered with an emulsion and thinned with water. The ancient medium was in constant employ in nigh world cultures,...
True tempera is made by mixture with the yolk of fresh eggs, although manuscript illuminators often used egg white and some easel painters added the whole egg. Other emulsions—such as casein gum with linseed oil, egg yolk with mucilage and linseed oil, and egg white with linseed or poppy oil—have besides been used. Individual painters take experimented with other recipes, just few of those have proved successful; all just William Blake'south later on tempera paintings on copper sheets, for instance, accept darkened and decayed, and information technology is idea that he mixed his pigment with carpenter'due south glue.
Distemper is a crude form of tempera fabricated by mixing dry pigment into a paste with h2o, which is thinned with heated glue in working or by calculation pigment to whiting (a mixture of fine-ground chalk and size). Information technology is used for phase scenery and full-size preparatory cartoons for murals and tapestries. When dry, its colours have the stake, matte, powdery quality of pastels, with a similar trend to smudge. Indeed, damaged cartoons have been retouched with pastel chalks.
Egg tempera is the near-durable form of the medium, being generally unaffected by humidity and temperature. It dries quickly to class a tough film that acts as a protective peel to the support. In handling, in its multifariousness of transparent and opaque effects, and in the satin sheen of its stop, it resembles the modernistic acrylic resin emulsion paints.
Traditional tempera painting is a lengthy process. Its supports are smooth surfaces, such as planed wood, fine set plaster, stone, newspaper, vellum, sail, and modernistic composition boards of compressed wood or paper. Linen is generally glued to the surface of panel supports, additional strips masking the seams betwixt braced forest planks. Gesso, a mixture of plaster of paris (or gypsum) with size, is the traditional ground. The first layer is of gesso grosso, a mixture of fibroid unslaked plaster and size. That provides a crude absorbent surface for 10 or more thin coats of gesso sottile, a polish mixture of size and fine plaster previously slaked in h2o to retard drying. This laborious training results in an opaque, vivid white, calorie-free-reflecting surface similar in texture to hard flat icing saccharide.
The blueprint for a large tempera painting was traditionally executed in distemper on a thick paper drawing. The outlines were pricked with a perforating wheel and then that when the cartoon was laid on the surface of the support, the linear design was transferred by dabbing, or "pouncing," the perforations with a muslin bag of powdered charcoal. The dotted contours traced through were and so fixed in paint. Medieval tempera painters of panels and manuscripts made lavish use of gold foliage on backgrounds and for symbolic features, such as haloes and beams of heavenly calorie-free. Areas of the pounced design intended for gilding were commencement built up into low relief with gesso duro, the harder, less-absorbent gesso compound too used for elaborate frame moldings. Background fields were often textured by impressing the gesso duro, before it set, with small-scale, carved, intaglio wood blocks to create raised, pimpled, and quilted repeat patterns that glittered when gilded. Leaves of finely beaten aureate were pressed onto a tacky mordant (adhesive compound) or over wet bole (reddish brown earth pigment) that gave greater warmth and depth when the gilded areas were burnished.
Colours were applied with sable brushes in successive broad sweeps or washes of semitransparent tempera. Those dried quickly, preventing the subtle tonal gradations possible with watercolour washes or oil paint; effects of shaded modelling therefore had to exist obtained by a crosshatching technique of fine brush strokes. Co-ordinate to the Italian painter Cennino Cennini, the early on Renaissance tempera painters laid the colour washes across a fully modelled monochrome underpainting in terre vert (olive-green paint), a method afterward developed into the mixed mediums technique of tempera underpainting followed by transparent oil glazes.
The luminous gesso base of operations of a tempera painting, combined with the cumulative effect of overlaid colour washes, produces a unique depth and intensity of color. Tempera paints dry lighter in value, but their original tonality can be restored by subsequent waxing or varnishing. Other characteristic qualities of a tempera painting, resulting from its fast-drying property and disciplined technique, are its steely lines and crisp edges, its meticulous detail and rich linear textures, and its overall accent upon a decorative flat design of bold color masses.
The bully Byzantine tradition of tempera painting was developed in Italy in the 13th and 14th centuries by Duccio di Buoninsegna and Giotto. Their flattened moving-picture show space, generously enriched by fields and textures of gold leaf, was extended by the Renaissance depth perspectives in the paintings of Giovanni Bellini, Piero della Francesca, Carlo Crivelli, Sandro Botticelli, and Vittore Carpaccio. By that time, oil painting was already challenging the primacy of tempera, Botticelli and some of his contemporaries plainly adding oil to the tempera emulsion or overglazing it in oil colour.
Post-obit the supremacy of the oil medium during succeeding periods of Western painting, the 20th century saw a revival of tempera techniques by such U.S. artists as Ben Shahn, Andrew Wyeth, and Jacob Lawrence and by the British painters Edward Wadsworth and Lucian Freud. Information technology would probably also take been the medium of the later hard-edge abstract painters, had the new acrylic resin paints not proved more easily and quickly handled.
This article was almost recently revised and updated by Naomi Blumberg.
Source: https://www.britannica.com/art/tempera-painting
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