Egg Tempera Painting, Tempera Underpainting, Oil Emulsion Painting - A Manual Of Technique Review

Average Reviews:

(More customer reviews)Are you looking to buy Egg Tempera Painting, Tempera Underpainting, Oil Emulsion Painting - A Manual Of Technique? Here is the right place to find the great deals. we can offer discounts of up to 90% on Egg Tempera Painting, Tempera Underpainting, Oil Emulsion Painting - A Manual Of Technique. Check out the link below:

>> Click Here to See Compare Prices and Get the Best Offers

Egg Tempera Painting, Tempera Underpainting, Oil Emulsion Painting - A Manual Of Technique ReviewA BOOK REVIEW
'Egg Tempera Painting, Tempura Underpainting, Oil Emulsion Painting : A Manuel of Technique" authored by Vaclav Vytlacil and Rupert Davidson Turnbull.
New York . Oxford University Press. 1935. ISBN 978-1-40676-506-9.DESCRIPTION:
The book states it was first published in 1935. It appears to be a reprint of the 1935 original edition. I do not know if the present book is an abridged version. This current copy has a soft cover binding, very small in size, 8 1/2 X 5 ½ inches, and a total of 76 pages, of which 73 pages provide instructional information. Some of the pages have large font sizes, and many half pages exist. The writing is in simple plain English and easily understood.
IS THIS BOOK RECOMMENDED?
The book has historical value even though it contains much erroneous information and lacks information crucial to oil painting with Emulsions. It attempts to briefly explain the various oil painting materials and methods used in history involving the Tempera medium and the Oil medium. It offers one view of use of Emulsions in oil painting. However, it is poorly organized. The topics are not placed in best sequence for easy understanding. The layout of the formulas for the Emulsions is confusing and confounding. The procedures for application would require great diligence and experimentation. Even the authors state their formulas are arbitrary and that artists should conduct their own experiments in mixing emulsions, and in application methods.
The authors say that in 1931, Jaques Maroger claimed that he had re-discovered the long lost `secret' medium used by the Van Eycks. A statement by Jaques Maroger ( 1884-1962), is included however, it appears Maroger's actual ' quotations' are inaccurately stated, and the authors state Maroger's quotations are ' condensed'. This causes the reader to wonder what information is missing. Marogers own book ( out of print and very expensive), " The Secret Formulas and Techniques of the Masters", was not translated into English and published in the USA until 1948. My additional research shows Maroger's claimed re-discovery of the Van Eyck medium was published in 1931 by the British Academy of Science. Therefore, historically, this 1935 edition book under review followed the 1931 published account.
Though this book makes the claim, the real questions for artists who may want to buy this book is: Did Maroger really rediscover the 'Van Eyck" secret medium? And, is it accurately represented here? And, is it workable?
Maroger himself said that his claim cannot be proven or disproven, because the Van Eycks did not leave a written record. However, Maroger claims his medium replicates the effects in the Van Eyck paintings.FORMAT OF THE BOOK WITH MY COMMENTS
The Introduction states the book has two functions: One, an Instructional text for painting in Egg Tempera. And, two, a theoretical and practical explanation of 'a new method' of oil painting with oils, or oil emulsions. This ' new method" uses Tempera as an underpainting , as a structure for subsequent overpainting with oils or oil emulsions. The authors make no claim that this ' new method' is the exact technique of the Old Masters, but believe it closely resembles it.
Chapter One: Attempts to compare Oil Painting with Tempera Painting, but this chapter is mired with irrelevant information and poorly based opinions.
Chapter Two: Discusses Oil Painting, and say their ' new method" is worthy of future individual development. Here the authors state they began a series of experiments, and became aware of the "Maroger Medium". Basically, they believe if one underpaints with Tempera and overpaints with the Maroger Medium, a painting can have the best of both mediums, Tempera and Oil.
Chapter Three: The authors attempt to support their reasons for underpainting in Tempera, but their instructions are at times irrelevant.
Chapter Four: Three main Emulsion formulas are given. Their explanations for application and uses are arbitrary as they themselves state. The numerous variations of mixtures, make oil painting to become a confusing exercise. The authors leave all the confusion in the hands of the artist, with instructions to experiment for themselves.
Chapter Five: The Emulsion Formulas are here described ...again, and with additional cautionary advice on use and application.
Chapter Six: Describes the grinding of Tempera paint, and providing wide leeway for the mixing.
Chapter Seven; A description of a paint mixture known as ' Putrido". The name is Italian, and refers to the foul putrid odor of the decomposing egg mixed with the oil
Chapter Eight; Describes the making of the 'grounds' for the wood panels.
Chapter Nine: Describes the making of the Oil grounds.
Chapter Ten: Describes materials used, such as Canvas, Tacks, Brushes, etc.
Chapter Eleven: Describes Glues to use.
Chapter Twelve: Describes Linseed Oil and repeats outright erroneous information, such as a so called, ' first pressing', which does not exist. And the erroneous unsupported claim that ' fresh oil' should not be used. Both are based on outright ignorance of the pressing/ extraction process of linseed oil. Additional ignorance and ill-informed suggestions, on the sun thickening process is also expressed. No mention is even attempted at the most important process involving linseed oil, that of cleansing the oil to remove any vegetable particulate caused by the pressing. The only comment stated is that the oil should be carefully `strained`. The authors are unaware that linseed oil is full of microscopic sized 'invisible' particulate, that cannot be removed by allowing it to 'stand' for their recommended period of one year, nor by any filtering system such as their recommended ' fine' meshed cloth. They do not mention knowing of one way to cleanse the oil is through a lengthy process of mixing with dry powders and use of a water sediment trap, followed by additional dry materials. These were processes known to the Old Masters. Without proper cleansing of the oil, it will in fact darken over time as the invisible vegetable particulate decomposes and darkens.
Chapter Thirteen: Describes Damar Varnish. No warning is given of the fact that Damar is forever soluble and causes an oil paint it is mixed with to be susceptible to damage, when cleansing with solvents, or that overpainting applications will cause a damar film to ' lift'.
Chapter Fourteen: Describes Lead White
Chapter Fifteen: Describes Gouache as a medium.
Chapter Sixteen: Describes the Maroger Medium, and a very brief few paragraphs of the history of oil painting beginning with Theophilus in the 1100's. It credits Jan Van Eyck in the 1500's as mixing oil and a watery substance such as glue or egg into an Emulsion. It is not clear when the Authors are talking or when Maroger is talking as the method is being described. The authors quote a second source by Maroger, essentially repeating the first. Here Maroger is quoted as re-discovering the Van Eyck medium, and calls it an EMULSION. Maroger states either a glue or a gum was added to a varnish. This complete mixture is called the Emulsion. The book gives a date of the Maroger report as being in 1931.
A somewhat scientific explanation of why the emulsion `works' is explained as 'interpigmentary separation' by the emulsion, with words such as ' electrolysis' and ' osmotic exchanges' used in the context.
Chapter Seventeen; Describes a Summary of painting procedures. Warnings are given if too much of the medium is used, it will lead to wrinkling and cracking.
NOTE: The Table of Contents does NOT divide the various subjects or themes into Chapters, and that some Subjects ( I have listed them as separate Chapters) are but one or two pages long. An Index is included. WILL THIS BOOK HELP ARTISTS UNDERSTAND "MAROGER'S MEDIUM"?
"Maroger's Medium" is often called ` Meguilp". Websites exist with views and opinions on ' Meguilp", also spelled as Megelp, Macgelph, and others of similar spelling. One website cites the origin of the name as beginning in 1767, in the writings of Sir Joshua Reynolds, others think it had its beginnings in the 1600's.
My name is Louis R. Velasquez, and I am the author of the (2004) book, "Oil Painting with `Calcite Sun Oil ` Safety and Permanence Without Hazardous Solvents, Resins, Varnishes, and Driers".
Here is my analysis of the claim that `Maroger's Medium is ` Meguilp", and Maroger's claim, as reported in this book, based on my personal experience of working with the same materials he used, and with materials he did not use or was unaware of.
I first discovered this book under Review, in January, 2008, five years after I formulated my own two Emulsions for Oil Painting. I was struck by some similarities and especially the differences of Maroger's Emulsion formula, when compared with my own. I will use my experience to show why Maroger's claim has serious faults.
So, What specifically is Meguilp? 'Meguilp' is described as being nothing more than a mixture of varying amounts, of a ' drying oil' ( such as linseed oil, walnut oil, etc.) boiled with lead, and an easily made varnish of Mastic and Turpentine, ( Mastic is a SOFT resin which is forever soluble in turpentine). This mixture creates a ` jelly" that gives the oil paint it is mixed with certain handling properties that are beneficial to a painter.
One website author formulates, makes and sells resin varnishes on his site, and many of his products use HARD resins, such as Amber or Copal. The site author says Meguilp has been criticized and blamed for causing much damage to paintings made in the 1800's. But, the site author rejects the blame and claims what...Read more›Egg Tempera Painting, Tempera Underpainting, Oil Emulsion Painting - A Manual Of Technique OverviewMany of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Want to learn more information about Egg Tempera Painting, Tempera Underpainting, Oil Emulsion Painting - A Manual Of Technique?

>> Click Here to See All Customer Reviews & Ratings Now