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..
I’m ready to accept this one as it is for now, though after it cures for awhile I might try to intensify the saturation of the main shapes with more coats of glaze. 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 will darken all values by about 10%, so I don’t mind leaving these panels a little lighter than either what their source image was or what their future companions will be. Final adjustments can always be made.
A technical write up of the lessons learned about egg tempera in this series of panels.