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Tempera painting was the primary panel painting medium for nearly every painter in the European Medieval and Early renaissance period up to 1500. For example, most surviving panel paintings attributed to Michelangelo are executed in egg tempera, an exception being his Doni Tondo which uses both tempera and oil paint.
Agony in the Garden is an egg tempera painting on wood panel, most likely painted on poplar, as is common of Bellini's wood panel works. [3] Bellini coated the wood panel with a gesso ground and provided an intricate underdrawing applied with a liquid medium, which provide the painting with a great complexity in texture especially seen in the ...
Christ as the Suffering Redeemer, 1488–1500, tempera on panel, 78×48 cm, Copenhagen, Statens Museum for Kunst; Sibyl and Prophet, 1495–1500, tempera on canvas, 58.4×51.1 cm, Cincinnati, Cincinnati Art Museum; Sophonisba, 1495–1500, egg tempera on panel, 72.1×19.8 cm, London, National Gallery
The Mocking of Christ measures 25.8 cm × 20.3 cm × 1.2 cm (10.16 in × 7.99 in × 0.47 in) and depicts the mocking of Jesus prior to his crucifixion. [2] The work is painted with egg tempera on a gold leaf background, on a thinned and slightly bowed poplar panel prepared with layers of gesso ground in which a canvas is embedded.
The painting is egg tempera and bronze on a wood panel. Moskos chose bronze over the traditional gold leaf. Bronze was rarely used by painters. The height is 98 cm (38.5 in) and the width is 63 cm (24.8 in). The painting features the Virgin holding child Jesus. The position is the traditional Hodegetria. The painter used the traditional ...
The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. [1] [2] It is in the National Gallery in London. It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.