“Twentieth Century Australian Tempera: Meaning, Materials and Methods. Revisiting the Past in Preparation for a Sustainable Art Future

Lewis, Vanessa

Title: “Twentieth Century Australian Tempera: Meaning, Materials and Methods. Revisiting the Past in Preparation for a Sustainable Art Future
Creator: Lewis, Vanessa
Relation: University of Newcastle Research Higher Degree Thesis
Resource Type: thesis
Date: 2022
Description: Research Doctorate - Doctor of Philosophy (PhD)
Description: In the English vernacular, the word ‘Tempera’ implies a paint medium that has been used up to the twentieth century and beyond and is generally thought to be a Pre-Renaissance paint medium made with eggs. While true for some tempera artworks, this research project has found that during the twentieth century other art methods, now known as watercolour, distemper, gouache, and acrylic were once also called tempera. The evolving definition of the word has on occasion contributed to a misattribution as to the materials and methods used in some twentieth century artworks. I began this archival and studio project with the same misunderstanding: that all tempera was made with eggs. What followed was an in-depth investigation into the development of the meaning of tempera which resulted in the investigation of ten of a countless range of different temperas used in 20th century studio practices, globally, as exemplified by key Australian works held in public art institutions. At the close of the project I now have a more nuanced understanding of the potential for mediums once known as tempera. As an outcome of the research, a collection of historic recipes, pigments, binders and related materials was created in the studio, with which I then tested the ‘revived’ tempera knowledge in my drawing practice to create new works. Along with achieving a more succinct understanding of tempera terminology, its material and technical properties, I identified a plethora of natural art materials used by artists before the commercialisation of paint. Embedded in the research, I therefore found the foundations to build a more sustainable and holistic studio-based art practice, with implications for a new consideration of what Australian tempera can offer the twenty-first century artist.
Subject: tempera; australian art; sustainability; paint; art history; natural materials
Identifier: http://hdl.handle.net/1959.13/1508720
Identifier: uon:56150
Language: eng

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