Tempera Painting 1800 – 1950

These texts explore the revival of tempera painting between 1800 and 1950 from the perspectives of art history, technical art history, conservation and scientific analysis. They provide an overview on the historical background of tempera painting, its terminologies,commercial production and the reconstruction of historical recipes, fundamentals of rheology, binding medium analyses and their interpretation. There is a particular focus on the work of Christina Herringham, Frances Hodgkins, Paul Klee, Hermann Prell, John Roddam Spencer Stanhope, Joseph Southall, Edward Steichen and Ossawa Tanner. The book offers new insights into what artists were trying to achieve, the materials they used and how they prepared and applied them.

The papers and posters in this volume were presented at the international conference Tempera Painting between 1800 and 1950: Experiments and Innovations from the Nazarene Movement to Abstract Art held at the Doerner Institut, in cooperation with the Academy of Fine Arts, Munich, the Technical University Munich (Chair of Conservation-Restoration, Art Technology and Conservation Science) and museum partners Villa Stuck and the Lenbachhaus. These texts explore the revival of tempera painting between 1800 and 1950 from the perspectives of art history, technical art history, conservation and scientific analysis. General papers provide an overview on topics such as the historical background of tempera painting, its terminologies,commercial production and the reconstruction of historical recipes, fundamentals of rheology, binding medium analyses and their interpretation. Particular papers focus on the work of Christina Herringham, Frances Hodgkins, Paul Klee, Hermann Prell, John Roddam Spencer Stanhope, Joseph Southall, Edward Steichen and Ossawa Tanner. The book offers new insights into what artists were trying to achieve, the materials they used and how they prepared and applied them.

Foreword Introduction

PAPERS

The paragone between oil and tempera painting in the 19th and 20th centuries Matthias Kruger

The tempera revival 1800-1950: historical background, methods of investigation and the question of relevance Karoline Beltinger

Tempera: narratives on a technical term in art and conservation Eva Reinkowski-Hafner

Colour and form in highest perfection: teaching tempera in the early 20th century Kathrin Kinseher

Past, recent, and future developments in the analysis and interpretation of tempera-based systems Kristin deGhetaldi

Flow behaviour and microstructure of complex, multiphase fluids Annika Hodapp, Patrick Dietemann and Norbert Willenbacher

Analysis and interpretation of binding media from tempera paintings Patrick Dietemann, Wibke Neugebauer, Cedric Beil, Irene Fiedler and Ursula Baumer

Towards historical accuracy in the production of historic recipe reconstructions Leslie Carlyle

The exception to the rule: reconstructing Richard Wurm's Temperafarbe Wibke Neugebauer, Ursula Baumer and Patrick Dietemann

Tempera painting in Veneto at the beginning of the 20th century Teresa Perusini, Giuseppina Perusini, Francesca C. Izzo and Giovanni Soccol

'I explored every means of painting back then, notably every tempera': Hermann Prell's research on tempera Silke Beisiegel

'If there is no struggle there is no victory': Christiana Herringham and the British tempera revival Michaela Jones

Joseph Southall and the tempera revival George Breeze

The spiritual from the material: exploring the tempera recipes of African-American artist Henry Ossawa Tanner in his later visionary paintings Brian Baade, Amber Kerr, Kristin deGhetaldi and Chris Petersen

'Then egg, then watercolour or tempera paints, then alcohol resin': Paul Klee's tempera painting techniques Patrizia Zeppetella, Stefan Zumbuhl and Nathalie Baschlin

Tempera and pastels: the colour effects created in Paul Klee's later work Nathalie Baschlin and Stefan Zumbuhl

Edward Steichen's last temperas Abbie Sprague

POSTERS

Studies on the consolidation treatment of a collection of 19th-century tuchlein from the Palau Ducal of Gandia, Valencia, Spain Esther Aznar Franco, Susana Martin Rey and Maria Castell Agusti

Tempera techniques used by Czech landscape painters at the end of the 19th century Hana Bilavcikova, Vaclava Antuskova, Radka sefcu, Vaclav Pitthard and Lenka Zamrazilova

Hiding in plain sight? Tempera-based British paintings at Tate, London Joyce H. Townsend

Love and the Maiden by John Roddam Spencer Stanhope: assumptions and the importance of analysis Elise Effmann Clifford

Frances Hodgkins: tempera painting and experimentation in St Ives, Cornwall Sarah Hillary and Martin Middleditch

Everything old is new again: investigating a modern tempera fake of a medieval panel painting Glennis Elizabeth Rayermann, Anna Stein and Gregory Dale Smith

Formation of efflorescence and soaps in a group of 31-year-old tempera paints: a baseline for comparison Stephanie Barnes and Jia-sun Tsang

WORKSHOP SUMMARIES

Tempera: painting with egg and oil (part 1). Recipes, handling properties and painterly qualities (part 2) Lisa Afken and Reni Mothes

Making paints with egg, oil and pigments: possibilities, physicochemical properties and distribution of the phases Patrick Dietemann, Ursula Baumer, Wibke Neugebaur and Ulricke Fischer

Tempera versus oil paint Ulrich Zwerenz and Johanna Thierse

Combining fresco and tempera Stefanie Correll, Stefan George, Klaus Hafner, Jessica Kallage-Gotze and Eva Reinkowski- Hafner

Syntonos paint: an early commercial tempera paint. Its properties and applications Catharina Blansdorf

Case studies of tempera painting in Munich c.1900 Luise Sand

Exploring the working methods of Henry Ossawa Tanner and other selected early 20th-century emulsion recipes Brian Baade

Ernst Berger #temperaemulsions: tempera networks in Munich c.1900 Kathrin Kinseher

Max Doerner's tempera painting techniques Elisabeth Fugmann, Iris Masson and Valerie Muller

Kurt Wehlte's tempera recipes on different ground layers Ivo Mohrmann and Monika Kammer,

Foreword
Introduction

PAPERS

The paragone between oil and tempera painting in the 19th and 20th centuries
Matthias Krüger

The tempera revival 1800–1950: historical background, methods of investigation and the question of relevance
Karoline Beltinger

Tempera: narratives on a technical term in art and conservation
Eva Reinkowski-Häfner

Colour and form in highest perfection: teaching tempera in the early 20th century
Kathrin Kinseher

Past, recent, and future developments in the analysis and interpretation of tempera-based systems
Kristin deGhetaldi

Flow behaviour and microstructure of complex, multiphase fluids
Annika Hodapp, Patrick Dietemann and Norbert Willenbacher

Analysis and interpretation of binding media from tempera paintings
Patrick Dietemann, Wibke Neugebauer, Cedric Beil, Irene Fiedler and Ursula Baumer

Towards historical accuracy in the production of historic recipe reconstructions
Leslie Carlyle

The exception to the rule: reconstructing Richard Wurm’s Temperafarbe
Wibke Neugebauer, Ursula Baumer and Patrick Dietemann

Tempera painting in Veneto at the beginning of the 20th century
Teresa Perusini, Giuseppina Perusini, Francesca C. Izzo and Giovanni Soccol

‘I explored every means of painting back then, notably every tempera’: Hermann Prell’s research on tempera
Silke Beisiegel

‘If there is no struggle there is no victory’: Christiana Herringham and the British tempera revival
Michaela Jones

Joseph Southall and the tempera revival
George Breeze

The spiritual from the material: exploring the tempera recipes of African-American artist Henry Ossawa Tanner in his later visionary paintings
Brian Baade, Amber Kerr, Kristin deGhetaldi and Chris Petersen

‘Then egg, then watercolour or tempera paints, then alcohol resin’: Paul Klee’s tempera painting techniques
Patrizia Zeppetella, Stefan Zumbühl and Nathalie Bäschlin

Tempera and pastels: the colour effects created in Paul Klee’s later work
Nathalie Bäschlin and Stefan Zumbühl

Edward Steichen’s last temperas
Abbie Sprague

POSTERS

Studies on the consolidation treatment of a collection of 19th-century tüchlein from the Palau Ducal of Gandia, Valencia, Spain
Esther Aznar Franco, Susana Martín Rey and María Castell Agustí

Tempera techniques used by Czech landscape painters at the end of the 19th century
Hana Bilavcíková, Václava Antušková, Radka Šefcu, Václav Pitthard and Lenka Zamrazilová

Hiding in plain sight? Tempera-based British paintings at Tate, London
Joyce H. Townsend

Love and the Maiden by John Roddam Spencer Stanhope: assumptions and the importance of analysis
Elise Effmann Clifford

Frances Hodgkins: tempera painting and experimentation in St Ives, Cornwall
Sarah Hillary and Martin Middleditch

Everything old is new again: investigating a modern tempera fake of a medieval panel painting
Glennis Elizabeth Rayermann, Anna Stein and Gregory Dale Smith

Formation of efflorescence and soaps in a group of 31-year-old tempera paints: a baseline for comparison
Stephanie Barnes and Jia-sun Tsang

WORKSHOP SUMMARIES

Tempera: painting with egg and oil (part 1). Recipes, handling properties and painterly qualities (part 2)
Lisa Afken and Reni Mothes

Making paints with egg, oil and pigments: possibilities, physicochemical properties and distribution of the phases
Patrick Dietemann, Ursula Baumer, Wibke Neugebaur and Ulricke Fischer

Tempera versus oil paint
Ulrich Zwerenz and Johanna Thierse

Combining fresco and tempera
Stefanie Correll, Stefan George, Klaus Häfner, Jessica Kallage-Götze and Eva Reinkowski- Häfner

Syntonos paint: an early commercial tempera paint. Its properties and applications
Catharina Blänsdorf

Case studies of tempera painting in Munich c.1900
Luise Sand

Exploring the working methods of Henry Ossawa Tanner and other selected early 20th-century emulsion recipes
Brian Baade

Ernst Berger #temperaemulsions: tempera networks in Munich c.1900
Kathrin Kinseher

Max Doerner’s tempera painting techniques
Elisabeth Fugmann, Iris Masson and Valerie Müller

Kurt Wehlte’s tempera recipes on different ground layers
Ivo Mohrmann and Monika Kammer

• Edited by Patrick Dietemann
• Edited by Wibke Neugebauer
• Edited by Eva Ortner
• Edited by Renate Poggendorf
• Edited by Eva Reinkowski-Häfner
• Edited by Heike Stege