Tempera Painting 1800-1950
The papers and posters in this volume were presented at the international conference Tempera Painting between 1800 and 1950: Experiments and Innovations from the Nazarene Movement to Abstract Art held at the Doerner Institut, in cooperation with the Academy of Fine Arts, Munich, the Technical University Munich (Chair of Conservation-Restoration, Art Technology and Conservation Science) and museum partners Villa Stuck and the Lenbachhaus. These texts explore the revival of tempera painting between 1800 and 1950 from the perspectives of art history, technical art history, conservation and scientific analysis. General papers provide an overview on topics such as the historical background of tempera painting, its terminologies,commercial production and the reconstruction of historical recipes, fundamentals of rheology, binding medium analyses and their interpretation. Particular papers focus on the work of Christina Herringham, Frances Hodgkins, Paul Klee, Hermann Prell, John Roddam Spencer Stanhope, Joseph Southall, Edward Steichen and Ossawa Tanner. The book offers new insights into what artists were trying to achieve, the materials they used and how they prepared and applied them.
The papers and posters in this volume were presented at the international conference Tempera Painting between 1800 and 1950: Experiments and Innovations from the Nazarene Movement to Abstract Art held at the Doerner Institut, in cooperation with the Academy of Fine Arts, Munich, the Technical University Munich (Chair of Conservation-Restoration, Art Technology and Conservation Science) and museum partners Villa Stuck and the Lenbachhaus.
These texts explore the revival of tempera painting between 1800 and 1950 from the perspectives of art history, technical art history, conservation and scientific analysis. General papers provide an overview on topics such as the historical background of tempera painting, its terminologies,commercial production and the reconstruction of historical recipes, fundamentals of rheology, binding medium analyses and their interpretation. Particular papers focus on the work of Christina Herringham, Frances Hodgkins, Paul Klee, Hermann Prell, John Roddam Spencer Stanhope, Joseph Southall, Edward Steichen and Ossawa Tanner. The book offers new insights into what artists were trying to achieve, the materials they used and how they prepared and applied them.
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COLOUR AND FORM IN HIGHEST PERFECTION: TEACHING TEMPERA IN THE EARLY 20TH CENTURY<br />
Figure 5 Max Doerner, list of lectures at the Academy of Fine Arts, Munich, during the winter<br />
semester 1913–14. (Photo: Kathrin Kinseher © Akademie der Bildenden Künste München.)<br />
and described some of the commercially available<br />
tempera paints that already included paints mixable<br />
both with water and oil. 10 His study paintings on<br />
technique served as teaching aids as well as exhibits<br />
in the Deutsches Museum’s painting room (Kinseher<br />
2018) (Fig. 3).<br />
Alexander Eibner<br />
Starting from the winter semester 1905, before<br />
regular technical lessons were established at the<br />
Academy of Fine Arts, painting students were<br />
required to attend the lectures by the chemist<br />
Alexander Eibner (1862–1935) at the Technical<br />
University of Munich (Technische Hochschule<br />
München). The programme and dates of Eibner’s<br />
lectures were announced in Technische Mitteilungen<br />
für Malerei (Anon. 1905, 1906). Different types of<br />
tempera were explained in lecture 9 (of a course<br />
of 12) among a variety of subjects that included<br />
coal tar pigments as well as inorganic and organic<br />
39
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