DOI issue:
No. 55 (September, 1901)
DOI article:Vallance, Aymer: The revival of tempera painting
DOI Page / Citation link:https://doi.org/10.11588/diglit.22775#0230
Tempera Painting
Mr. Crane experimented upon various kinds
of grounds with different mediums, such as
size, or size and starch combined. His first
undertakings in pure egg tempera are the two
important paintings, The Fountain of Youth and
The Moiver, hung at this year’s Summer Exhibition
at the. New Gallery. Among the younger artists
Mr. Joseph Southall took up tempera in 1883, and,
in spite of many disappointments and even an
interval of several years, during which, in very
despair, he had recourse to oil painting, has suc-
ceeded in reaching an advanced standard of achieve-
ment, as his brilliant works testify both at Leighton
House and the New Gallery. In the former col-
lection may be mentioned the gilt frame for a
circular mirror (reproduced in The Studio for
January, 1900), with panels in tempera on a gilt
ground, and also two works illustrative of the story
of “ Beauty and the Beast,” one of which, Beauty
seeing the Image of her Home in the Fountain, is
here reproduced. Not less bright in colouring is
the allegorical New Lamps for Old at the New
Gallery, a picture in which the portrait of the
artist himself may be discerned behind the
fountain in the left-hand corner. It is mainly
owing to Mr. Southall's initiative that other
artists of the Birmingham circle have been
influenced in the direction of tempera. Thus
Mr. Arthur Gaskin has painted in this medium
for some years. His work, admirably broad in
inception, is perhaps inclined, through the artist’s
scrupulous finish, to approach an elaboration
not far removed from stippling or the appearance
of miniature painting. The two illustrations here
given, Fiametta, a portrait study of a charming
personality, and Kilhitych, the King’s Son, are
admirable examples of that quiet refinement
which is a special characteristic of Mr. Gaskin’s
work. Another Birmingham artist, Mr. Gere,
whose small tempera painting at the recent New
Gallery exhibition is aglow with the sunlight of
the South, was drawn into the tempera movement
five or six years ago, on the occasion of his
visiting Florence with Mr. J. D. Batten. The
latter artist is well qualified to take the lead of
the movement in London. His first work in
tempera, Snowdrop and the Dwarfs, was shown
a year or two back at the New Gallery. The
circular picture of St. George, a fine render-
ing of a favourite subject, after being exhibited at
the Salon, was included in the collection at Leighton
House. The prevailing tones are soft green and
grey, while the rescued Princess is clothed in a
bright saffron robe. But one of the best tempera
works by Mr. Batten is his Mother and Child.
The exquisite tenderness of the flesh painting
could scarcely be surpassed, even in tempera. It is
doubtful whether anything nearly so delicate could
be produced in any other medium. On the other
hand it cannot be denied that tempera makes
equally possible a streaky or hairy treatment, such
as is noticeable in Crivelli’s paintings.
“snowdrop and the dwarfs” by t. d. batten
158
Mr. Crane experimented upon various kinds
of grounds with different mediums, such as
size, or size and starch combined. His first
undertakings in pure egg tempera are the two
important paintings, The Fountain of Youth and
The Moiver, hung at this year’s Summer Exhibition
at the. New Gallery. Among the younger artists
Mr. Joseph Southall took up tempera in 1883, and,
in spite of many disappointments and even an
interval of several years, during which, in very
despair, he had recourse to oil painting, has suc-
ceeded in reaching an advanced standard of achieve-
ment, as his brilliant works testify both at Leighton
House and the New Gallery. In the former col-
lection may be mentioned the gilt frame for a
circular mirror (reproduced in The Studio for
January, 1900), with panels in tempera on a gilt
ground, and also two works illustrative of the story
of “ Beauty and the Beast,” one of which, Beauty
seeing the Image of her Home in the Fountain, is
here reproduced. Not less bright in colouring is
the allegorical New Lamps for Old at the New
Gallery, a picture in which the portrait of the
artist himself may be discerned behind the
fountain in the left-hand corner. It is mainly
owing to Mr. Southall's initiative that other
artists of the Birmingham circle have been
influenced in the direction of tempera. Thus
Mr. Arthur Gaskin has painted in this medium
for some years. His work, admirably broad in
inception, is perhaps inclined, through the artist’s
scrupulous finish, to approach an elaboration
not far removed from stippling or the appearance
of miniature painting. The two illustrations here
given, Fiametta, a portrait study of a charming
personality, and Kilhitych, the King’s Son, are
admirable examples of that quiet refinement
which is a special characteristic of Mr. Gaskin’s
work. Another Birmingham artist, Mr. Gere,
whose small tempera painting at the recent New
Gallery exhibition is aglow with the sunlight of
the South, was drawn into the tempera movement
five or six years ago, on the occasion of his
visiting Florence with Mr. J. D. Batten. The
latter artist is well qualified to take the lead of
the movement in London. His first work in
tempera, Snowdrop and the Dwarfs, was shown
a year or two back at the New Gallery. The
circular picture of St. George, a fine render-
ing of a favourite subject, after being exhibited at
the Salon, was included in the collection at Leighton
House. The prevailing tones are soft green and
grey, while the rescued Princess is clothed in a
bright saffron robe. But one of the best tempera
works by Mr. Batten is his Mother and Child.
The exquisite tenderness of the flesh painting
could scarcely be surpassed, even in tempera. It is
doubtful whether anything nearly so delicate could
be produced in any other medium. On the other
hand it cannot be denied that tempera makes
equally possible a streaky or hairy treatment, such
as is noticeable in Crivelli’s paintings.
“snowdrop and the dwarfs” by t. d. batten
158