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Moderator Answer
(koo schadler)
Hi Brian,
A less-than ideally made painting can last a long time under ideal circumstances, and a well-crafted painting can fall apart under bad conditions – so it's hard to say definitively, “don't work with egg tempera on canvas". Yet there are many reasons not to.
1. Chief among them is egg tempera and traditional gesso's high PVC. Anyone who wants to understand egg tempera in greater depth should understand high PVC: it's one of the medium's defining characteristics. Attached is a handout on the subject. Koo Schadler PVC.pdf
2. Already a less flexible medium than oil or acrylic to begin with (due to its high pigment load), egg tempera becomes more brittle over time as mobile lipids, which give plasticity to the paint film, move around (into the ground if it's porous; or, up to the paint surface). I don't know how soon this happens, nor have I seen a definite statement as to when egg tempera paint polymerizes. The time line for oil (6-12 months) is often given for ET, but I think it's more likely 3 months, more or less (given the thinness of the layers, porosity of the paint film, and personal experience). Even if we could determine polymerization, I don't know when the lipids start their traveling about. There is much unknown; for example, Dr. Stoner, the Wyeth family conservator, notes that lipid efflorescence in A. Wyeth's ETs seems to be exacerbated by humidity; so, even if a painting isn't very old, could humidity increase the likelihood of efflorescence? Amidst all this uncertainty, a conservative view is to presume an already less flexible paint becomes brittle at some point, and to give it maximum stability from the start.
3. As for painting on an synthetic polymer ground, I agree with Brian B. – there's nothing like a traditional chalk/gypsum + animal glue ground for egg tempera. Both traditional gesso's porosity and its hygroscopic binder create maximum absorbency, and absorbency gives the best working properties for ET (because it allows for controlling water content, which is key to controlling the paint). More importantly (in terms of permanence), maximum absorbency encourages good adhesion. My experience is that egg tempera requires, in addition to dispersive adhesion, mechanical adhesion – a physical intermeshing, like sewing or Velcro, of paint to ground. I believe mechanical adhesion is critical for long term adherence of ET; I say this not only from decades of direct experience handling the paint, but also because, when people share images with me of delaminating ET paint, nearly always it's on a synthetic polymer ground or non wood-based support. You get a wee bit of mechanical adhesion with a regular acrylic gesso, but not nearly as much as with a traditional gesso (or even a very high PVC, synthetic polymer gesso).
There's little doubt in my mind that traditional gesso under ordinary conditions will not last well on canvas, especially rolled up. The few synthetic polymer, high PVC grounds that perform moderately well for egg tempera have such a high pigment load (which is what allows them to work for tempera) that they'd suffer the same fate (cracking and delamination) as traditional gesso. A regular acrylic polymer ground can be rolled – but this very fact indicates lower PVC and decreased absorbency, which means it won't give as good working properties to the paint nor, more importantly, as good adhesion between paint and ground.
All of this begs the question…how did Botticelli work on canvas?! I've asked this question many times (including on this forum; see below). I haven't the benefit, as George has, of a close up examination (aside from craning my head towards the painting, many years ago, before there were beepers saying 'stay away'; the Ufizzi security guard still scolded me). From what I could see the paint looks applied thinly (a bit like washes). I also wonder if he may have added oil to both ground and paint to improve flexibility. Botticelli worked in oil and egg/oil emulsions at times; i.e. his Primavera is now believed to be an egg oil emulsion (see Baldini, Umberto, Primavera, The Restoration of Botticelli's Masterpiece).
This suggests an option: Have you considered working in tempera grassa? If you haven't yet tried the medium, it's very easy to make (simple recipe attached:Koo Schadler Tempera Grassa.pdf). This would impart more flexibility and greater adhesion of the paint to a regular acrylic gesso. While still not ideal (I'm so used to working on rigid supports that, I confess, I have a bit of a bias against canvas) it's a more viable option than pure ET on canvas.
Koo
PS. Here is, slightly abbreviated, the reply Kristin DeGhetaldi posted a few years ago in response to my question asking how Botticelli worked with ET on canvas:
“It is often impossible…to make definitive conclusions regarding binding media based on visual assessment alone. One really needs to have the condition report of the painting in hand and ideally a very thorough analytical report. And even then it can be impossible to know what Botticelli and his workshop truly used. Botticelli's works in particular have likely been restored multiple times over…It is no secret that Botticelli and his workshop pushed tempera to its absolute limit as a medium… So the Birth of Venus could very well be an example of true tempera grassa [egg oil emulsion]. Or the ground may have been carefully prepared in a unique manner. The fact that it is on canvas has and likely always will continue to intrigue…If this painting has been analyzed recently the results have yet to be published. Yet even if cross-sections are obtained or samples are collected for destructive medium analysis…I doubt that all of our questions would be adequately answered. It would be wonderful to conduct a technical study of the painting with some top-of-the-line analytical techniques but often funding…is the main hold-up. In Italy this is often the problem combined with a whirlwind of political hoops that one has to jump through in order to carry out a technical study of this magnitude on a painting that may as well be the country's unofficial 'banner'." https://www.artcons.udel.edu/mitra/forums, June 29, 2017.