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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.
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.
The Still Room (1928) is a later tempera painting by Burleigh in which she uses her daughter Veronica as the model. The painting is an example of Burleigh's use of a saturated colour palette, in comparison to her early illustrations for Keats's poetry, and the use of colour to direct the viewer's eye diagonally through the painting. [ 5 ]
Madonna del Prato (Madonna of the Meadow) is a 1505 painting of the Virgin Mary and the Christ Child by the Italian Renaissance painter Giovanni Bellini, now in the National Gallery in London. [1] Originally painted as oil and egg tempera on wood, it was transferred to canvas in 1949, [2] with damage in places.
Mystic Crucifixion is a c. 1500 oil on canvas and egg tempera painting by the Florentine Renaissance master Sandro Botticelli (c. 1445-1510) . Painted during the part of his career when he came under the influence of the Dominican friar Girolamo Savonarola (though after the cleric had already been burnt at the stake), the work has been seen as a statement upon the state of Florence itself.
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 ...
In 2003, Roberts began experimenting with the demanding medium of egg tempera. She was drawn to it because of the luminous color, still visible in medieval and early Renaissance masterworks. [19] Roberts wrote a monograph on the technique [20] and taught master classes in egg tempera. Inspiration, from the Feeling Series, by Gainor E. Roberts, 2011
The painting is in tempera, the ground paint being mixed with egg yolk and laid in thin glazes. The background and many details are inlaid with gold leaf and in places the panel has been tooled beneath the gilding to enhance the decorative quality.