Finally, the last in the egg tempera series. A fore-ground composition full of meaningful, three dimensional human form containing a full range of values: strong contrasts of light and dark. Rendering the flesh tones of the hand and the warm glinting light of the gold bracelet were wonderful challenges. A Renaissance painter would have applied real gold leaf(!) – to the bracelet, that is..
After completing this panel last November I returned to this panel after it cured. I wanted to intensify the saturation of the main shapes of the pants leg and the green sweater with more coats of glaze. I warmed up the hand too. But it’s also important to keep in mind that egg tempera, in contrast to the other media of this project (that is, oil, encaustic and acrylic) requires a final coat of protective varnish. This varnish will darken all values by about 10%, so I don’t mind leaving these panels a little bit lighter than their companions. Compositionally and chromatically I’m not trying for seamless alignments but at the same time the values should more or less align.
A technical write up here of the lessons learned about egg tempera in this series of panels.