Word: temperaments
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Before Antonello, the great Italian painters had worked with tempera, i.e., opaque water color. Mixed with egg white and applied to mirror-smooth panels with the points of tiny brushes, tempera has a brilliance and precision that oils can never match. But oils are far more fluent. They can be laid atop one another in transparent glazes to produce a glowing vibrancy akin to that of colors in nature. They can be blurred into shadow, and they can be broadly, loosely, quickly or gently brushed, in imitation of the flooding sparkle of light itself. Antonello preached this technique by example...
Most interesting of the lot was a 38-year-old ex-abstractionist named Edward Melcarth, who paints mural-size canvases of factories and workmen, using one of the Renaissance's favorite materials, egg tempera. Painter Melcarth has his eye on what he hopes is a potential new market for art: U.S. labor unions. He plans to ship off canvases to various union headquarters around the country and invite the members to pay him whatever they think his paintings are worth. In San Francisco, the International Longshoremen's and Warehousemen's Union now has before...
...picture was often brought to nothing by his passion for tinkering. The grand mural depicting the Battle of Anghiari was completely lost because an experimental lacquer, one of Leonardo's latest notions, dissolved. The Last Supper early began to fade, partly because Leonardo chose to use an experimental tempera. Of all his paintings, only two or three, including the Mona Lisa, survive relatively unimpaired...
...Conshohocken in the exhibition catalogue), ten miles from Stuempfig's Chestnut Hill home, is far from romantic to the unpracticed eye. But by painting it from a vantage point overlooking the Schuylkill River, Stuempfig has thrown new light on its smoke-darkened silhouettes. Using a mixed technique of tempera with oil glazes on heavy canvas, Stuempfig gradually built a spacious river town veiled in a warm and somehow sad early morning dimness. The neo-classical composition recalls Corot's Italian landscapes, and its distant, county-courthouse dome might almost be mistaken for St. Peter's in Rome...
...artists, impelled by deep religious feelings of their own, put on a display of 20th Century icons at New York's Fordham University. Their modern icons dealt with the same devotional subjects-Christ Enthroned, The Archangel Michael, St. Nicholas, The Annunciation-as the 15th Century masterpieces. Painted in tempera on cypress or pine, they also had much of the same timeless, static charm...