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The Practice of Tempera Painting

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Title: The Practice of Tempera Painting
by Daniel V. Thompson
ISBN: 0-486-20343-3
Publisher: Dover Pubns
Pub. Date: 01 June, 1962
Format: Paperback
Volumes: 1
List Price(USD): $7.95
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Average Customer Rating: 5 (2 reviews)

Customer Reviews

Rating: 5
Summary: Everything You Wanted to Know About Tempera...
Comment: There are not many books available on tempera painting mainly because few artists these days have either the time or the patience to grind their own pigments and mix them into a binder. For anyone who does have such an interest egg tempera is a fascinating and beautiful medium to learn. Anyone who has ever tried to scrape off dried egg yolk from a plate will soon realize how incredibly durable a binder it makes for a painting medium. The Practice of Tempera Painting covers a lot of subjects in-depth. Everything from preparing the surface, pigment to egg to water ratios, discussions of various pigments to actual instructions for the traditional hatching and cross-hatching brushstroke technique is shown.

The only section readers today might want to supplement is reading up on a more up-to-date book on pigments. Many of the pigments discussed in Thompson's book, while still available, are now known to present health risks. Modern pigments that are safer and just as lightfast (in some cases even more lightfast) are now available that Thompson and painters of the 1930's didn't have. Other than that one caveat this book is a great introduction to egg tempera painting.

Rating: 5
Summary: Invaluable Book!
Comment: This excellent introduction to egg tempera is invaluable to oil painters as well. Thompson's writing is filled with humor and wit, making the book very readable.

I was delighted to discover that, unlike so many books about painting techniques, Thompson's is clear and thorough without being a condescending "how to" manual. It also avoids being mired in footnotes and tedious tangential detail. It is obvious that he speaks from the perspectives of both painter and scholar. The only drawback is that the reproductions are in black and white, but as this was standard when the volume was written it is forgivable.

This book will prove informative for artists, teachers, and museum professionals (I am all three) who are in search of solid information on tempera painting. Look no further and enjoy the read!

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