Today we think of the RenaisÂsance as one of those periÂods when everyÂthing changed, and if the best-known artiÂfacts of the time are anyÂthing to go by, nothÂing changed quite so much as art. This is reflectÂed in obviÂous aesÂthetÂic difÂferÂences between the works of the RenaisÂsance and those creÂatÂed before, as well as in less obviÂous techÂniÂcal ones. Egg yolk-based temÂpera paints, for examÂple, had been in use since the time of the ancient EgypÂtians, but in the fifÂteenth cenÂtuÂry they were replaced by oil paints. When chemÂiÂcal analyÂsis of the work of cerÂtain RenaisÂsance masÂters revealed traces of egg, they were assumed to be the result of chance conÂtÂaÂmÂiÂnaÂtion.
Now, thanks to a recent study led by chemÂiÂcal engiÂneer OphĂ©lie RanÂquet of the KarlÂsruhe InstiÂtute of TechÂnolÂoÂgy, we have reaÂson to believe that painters like BotÂtiÂcelÂli and LeonarÂdo kept eggs in the mix delibÂerÂateÂly. Oil replaced temÂpera because “it creÂates more vivid colÂors and smoother colÂor tranÂsiÂtions,” writes Smithsonian.com’s TereÂsa NowakowsÂki.
“It also dries slowÂly, so it can be used for longer after the iniÂtial prepaÂraÂtion.” But “the colÂors darkÂen more easÂiÂly over time, and the paint is more susÂcepÂtiÂble to damÂage from light expoÂsure. It also has a tenÂdenÂcy to wrinÂkle as it dries,” visÂiÂble in LeonarÂdo’s MadonÂna of the CarÂnaÂtion below.
Putting in a bit of egg yolk may have been a way of using oil’s advanÂtages while minÂiÂmizÂing its disÂadÂvanÂtages. RanÂquet and her colÂlabÂoÂraÂtors testÂed this idea by doing it themÂselves, re-creÂatÂing two pigÂments used durÂing the RenaisÂsance, both with egg and withÂout. “In the mayÂolike blend” proÂduced by the forÂmer method, writes SciÂenceÂNews’ Jude ColeÂman, “the yolk creÂatÂed sturÂdy links between pigÂment parÂtiÂcles, resultÂing in stiffer paint. Such conÂsisÂtenÂcy would have been ideÂal for techÂniques like impasÂto, a raised, thick style that adds texÂture to art. Egg addiÂtions also could have reduced wrinÂkling by creÂatÂing a firmer paint conÂsisÂtenÂcy,” though the paint itself would take longer to dry.
In pracÂtice, RenaisÂsance painters seem to have experÂiÂmentÂed with difÂferÂent proÂporÂtions of oil and egg, and so disÂcovÂered that each had its own strengths for renÂderÂing difÂferÂent eleÂments of an image. HyperÂalÂlerÂgic’s TayÂlor Michael writes that in The LamenÂtaÂtion Over the Dead Christ, seen up top, “BotÂtiÂcelÂli paintÂed Christ, Mary MagÂdaÂlene, and the VirÂgin, among othÂers, with temÂpera, and the backÂground stone and foreÂgroundÂing grass with oil.” Thanks to the oxiÂdizaÂtion-slowÂing effects of phosÂphoÂlipids and antioxÂiÂdants in the yolk — as sciÂenÂtifÂic research has since proven — they’ve all come through the past five cenÂturies lookÂing hardÂly worse for wear.
RelatÂed conÂtent:
How CarÂavagÂgio PaintÂed: A Re-CreÂation of the Great Master’s Process
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
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