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Hi Koo (and Brian), I can just give some practical examples of what I've
observed with Andrew Wyeth's egg yolk tempera paintings over the last
25 years or so (with his cooperation for twelve of those years!)
He
told me that when he wanted to get impasto, he actually switched to oil
paint. [One of his paintings where he showed me that he did this was
of some lonely dogs; it was part straight oil paint and had impasto, but
was also tempera -- those areas had no real impasto.]
In
another (all egg yolk + pigment painting), Dryad, he had painted a nude
female figure inside a pin oak, and then later decided he wanted the
large opening in the pin oak just to be in dark shadow, so he painted
out the figure with dark brown pigment and egg yolk tempera. The top
layer of brown peels in up little curls fairly regularly. That nude
lady just wants to come forward, it seems.
When
egg tempera is dried, aged, and is fairly slick-- more tempera put on
top of it will not seem to have "purchase" and in a few months or years
may crack, flake, or peel up. So egg tempera, from what I have
observed, may not be safe to build up in layers to create impasto.
When
AW would splatter the tempera in drips and splashes with beads of
tempera paint at the end of the splash, to depict fields of wild grass,
etc. (sort of micro-Pollock) the bead-- the drop at the end of the
splash--seems to sometimes just fall off. [That would be an example of
one blob rather than a series of layers.]
To
me, it's pretty risky to build up impasto with egg yolk tempera.
British restorers who used egg tempera for retouching on chalk fills
divided into those who used the WHOLE egg and those who used only the
yolk. It is possible the whole egg might be a better sort of natural
emulsion, but I'm just guessing here. Glair-- which is JUST the egg
white and was used for very fine lines in manuscript illumination, is
itself quite brittle and can flake off on its own if the supporting
pages are flexed.
I've dealt only with AW's straight-egg-yolk tempera -- I'm afraid I can't comment on a fattier egg tempera? [with oil added?]
Best
wishes to all and stay safe.
And dear Koo-- your paintings are so
beautiful--I hope they also stay safe and stable. And as Bernadette
Peters sang to Mandy Patinkin as Georges Seurat "Give us more to see."
Joyce
(Dr.) Joyce Hill Stoner
Edward F. and Elizabeth Goodman Rosenberg Professor of Material CultureDirector, Preservation Studies Doctoral Program, University of DelawarePaintings Conservator, Winterthur/UD Program in Art Conservation