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Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art

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Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art Tempera Painting 1800–1950 Experiment and Innovation from the Nazarene Movement to Abstract Art Edited by Patrick Dietemann, Wibke Neugebauer, Eva Ortner, Renate Poggendorf, Eva Reinkowski-Häfner and Heike Stege Archetype Publications in association with the Doerner Institut, www.archetype.co.uk Bayerische Staatsgemäldesammlungen, Munich First published 2019 by Archetype Publications Ltd in association with the Doerner Institut, Bayerische Staatsgemäldesammlungen, Munich Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk Text © 2019 the authors and Archetype Publications Images © 2019 the authors except where stated otherwise ISBN: 978-1-909492-59-2 A PDF of this book is available to download from www.doernerinstitut.de/tempera_2018/en/publikation/index.html British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. The views and practices expressed by individual authors are not necessarily those of the editors or the publisher. The authors and publisher cannot take any responsibility for any harm or damage that may be caused by the use or misuse of any information contained herein. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: Edward Wadsworth, Signals, 1942, tempera on canvas, 101.6 × 71.1 cm, N06029. (Photo © Tate, London 2019.) Back cover illustrations (from left to right): Franz von Stuck, Portrait Gertrud Littmann, 1911, 114.2 × 99.5 cm, Bavarian State Painting Collections, Inv. No. 14450. (Photo: Sibylle Forster, Bavarian State Painting Collections, Munich.); Guido Cadorin, Girl in Green, 99.5 × 68 cm, tempera on cardboard, 1924, Museo Revoltella, Trieste. (Photo: Archive of Museo Revoltella.); detail from Frances Hodgkins, Refugee Children, c.1916, 60.9 × 72.7 cm, Auckland Art Gallery Toi o Tāmaki, on loan from the Thanksgiving Foundation, acc. no. L1998/20; Otto Modersohn, Stilleben mit ausgestopften Vögeln, Lurch in Flasche, Tasse und Schale, 1906, paint on millboard, 35 × 46 cm, Paula-Modersohn-Becker-Stiftung, Bremen. (Photo © Ewa Kruppa.) Printed on acid-free paper Designed by Marcus Nichols at PDQ Digital Media Solutions Ltd Typeset by PDQ Digital Media Solutions Ltd, Bungay Printed in the UK by Hobbs the Printer, Totton, Hampshire CONTENTS Foreword ix Acknowledgements xi PAPERS The paragone between oil and tempera painting in the 19th and 20th centuries 3 Matthias Krüger The tempera revival 1800–1950: historical background, methods of investigation and the question 13 of relevance Karoline Beltinger Tempera: narratives on a technical term in art and conservation 21 Eva Reinkowski-Häfner Colour and form in highest perfection: teaching tempera in the early 20th century 33 Kathrin Kinseher Past, recent, and future developments in the analysis and interpretation of tempera-based paint systems 44 Kristin deGhetaldi Flow behaviour and microstructure of complex, multiphase fluids 57 Annika Hodapp, Patrick Dietemann and Norbert Willenbacher Analysis and interpretation of binding media in tempera paintings 68 Patrick Dietemann, Wibke Neugebauer, Cedric Beil, Irene Fiedler and Ursula Baumer Towards historical accuracy in the production of historical recipe reconstructions 81 Leslie Carlyle The exception to the rule: reconstructing Richard Wurm’s Temperafarbe 87 Wibke Neugebauer, Ursula Baumer and Patrick Dietemann Tempera painting in Veneto at the beginning of the 20th century 97 Teresa Perusini, Giuseppina Perusini, Francesca C. Izzo and Giovanni Soccol v CONTENTS ‘I explored every means of painting back then, notably every tempera’: Hermann Prell’s research 107 on tempera Silke Beisiegel ‘If there is no struggle there is no victory’: Christiana Herringham and the British tempera revival 117 Michaela Jones Joseph Southall and the tempera revival 124 George Breeze The spiritual from the material: exploring the tempera recipes of African-American artist 135 Henry Ossawa Tanner in his later visionary paintings Brian Baade, Amber Kerr, Kristin deGhetaldi and Chris Petersen ‘Then egg, then watercolour or tempera paints, then alcohol resin’: Paul Klee’s tempera 145 painting techniques Patrizia Zeppetella, Stefan Zumbühl and Nathalie Bäschlin Tempera and pastels: the colour effects created in Paul Klee’s later work 152 Nathalie Bäschlin and Stefan Zumbühl Edward Steichen’s last temperas 162 Abbie N. Sprague POSTERS Studies on the consolidation treatment of a collection of 19th-century Tüchlein from the Palau Ducal 171 of Gandia, Valencia, Spain Esther Aznar Franco, Susana Martín Rey and María Castell Agustí Tempera techniques used by Czech landscape painters at the end of the 19th century 174 Hana Bilavčíková, Václava Antušková, Radka Šefců, Václav Pitthard and Lenka Zamrazilová Hiding in plain sight? Tempera-based British paintings at Tate, London 178 Joyce H. Townsend Love and the Maiden by John Roddam Spencer Stanhope: assumptions and the importance of analysis 181 Elise Effmann Clifford Frances Hodgkins: tempera painting and experimentation in St Ives, Cornwall 184 Sarah Hillary and Martin Middleditch Everything old is new again: investigating a modern tempera fake of a medieval panel painting 187 Glennis Elizabeth Rayermann, Anna Stein and Gregory Dale Smith Formation of efflorescence and soaps in a group of 31-year-old tempera paints: a baseline 191 for comparison Stephanie Barnes and Jia-sun Tsang vi CONTENTS WORKSHOP SUMMARIES Tempera: painting with egg and oil (part 1). Recipes, handling properties and painterly 197 qualities (part 2) Lisa Afken and Reni Mothes Making paints with egg, oil and pigments: possibilities, physicochemical properties and distribution 198 of the phases Patrick Dietemann, Ursula Baumer, Wibke Neugebauer and Ulrike Fischer Tempera versus oil paint 200 Ulrich Zwerenz and Johanna Thierse Combining fresco and tempera 201 Stefanie Correll, Stephan George, Klaus Häfner, Jessica Kallage-Götze and Eva Reinkowski-Häfner Syntonos paint: an early commercial tempera paint. Its properties and applications 202 Catharina Blänsdorf Case studies of tempera painting in Munich c.1900 204 Luise Sand Exploring the working methods of Henry Ossawa Tanner and other selected early 20th-century 206 emulsion recipes Brian Baade Ernst Berger #temperaemulsions: tempera networks in Munich c.1900 208 Kathrin Kinseher Max Doerner’s tempera painting techniques 210 Elisabeth Fugmann, Iris Masson and Valerie Müller Kurt Wehlte’s tempera recipes on different ground layers 212 Ivo Mohrmann and Monika Kammer vii In Memoriam Ernst Berger (1857–1919) Ernst Berger was an early pioneer of art technology who developed new hypotheses on tempera and oil painting. He progressively combined source research, technical examinations, scientific analyses and practical reconstructions for his research on historic painting techniques. Foreword From the 15 to 17 March 2018, Munich and its always leads to more questions and we felt that this ‘Kunstareal’ was the location for three days of was the moment to share the manifold views and exchange and experiment on ‘Tempera Painting research activities among a broader, international between 1800 and 1950’. The Doerner Institut of audience, bringing together scholars from the fields the Bayerische Staatsgemäldesammlungen had the of conservation, technical art history, science and pleasure of hosting this international conference with art history. The two days of lectures covered a over 270 participants from 22 countries, which took broad range of questions such as: What were the place in close cooperation with the Academy of Fine artists trying to achieve? Which materials did they Arts, Munich, and the Technical University Munich, use and how did they prepare and apply them? How Chair of Conservation-Restoration, Art Technology can we examine and understand their techniques? and Conservation Science, as well as museum part- In addition to theoretical disputes, the conference ners Villa Stuck and the Lenbachhaus. offered a day dedicated to practical workshops and Munich has a long history as a hotspot for artists guided gallery tours allowing participants to gain and scholars interested in painting techniques. All hands-on experience of the making of paints and the above-mentioned institutions share an unbroken their application as well as a splendid opportunity tradition of theoretical and practical engagement to study works of tempera painting preserved in with art-technological questions reaching back into Munich museums. the 19th and early 20th century. Prominent painting The following is an attempt to provide a résumé technicians including Ernst Berger and Max Doerner of these three days which again revealed so many researched and taught in this field, and chemists different facets of tempera painting at the dawn of such as Alexander Eibner studied the properties and modernity. Where do we stand with our research durability of artists’ materials. This milieu inspired and where will it possibly lead us in the future? influential artists including Franz von
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