How was this made?
This painting was made using egg tempera and gold leaf on a wood panel that is approximately two feet tall. The paint was applied to the panel first, and gold leaf was added afterward.
Creating an Italian panel painting required many steps. In order for the paint and gold leaf to adhere, the panel needed to be spread with layers of glue and clay to provide smooth adhesive surfaces. Artists would often have assistants in their shops to help prepare the panel before it was painted. First, a piece of plank wood, often made of native poplar, was layered with various coats of “size,” which was a glue made from animal skins. Poplar was widely available in Italy. Though this wood was soft, it was vulnerable to warping. Next, a piece of linen soaked in size was laid over the panel to hide surface flaws. Lastly, coats of gesso, a mixture of powdered calcium sulfate and animal glue, were applied to the plank. Gesso provided the ideal surface for preliminary drawings. After this initial preparation, the plank was ready for pigment and gilding.
Egg tempera painting originated in ancient Egypt. This medium was widely used in the Middle Ages and became the primary medium of Byzantine and Early Christian icon painters. Egg tempera was not only used for icons; it was also used for illustrations in illuminated manuscripts.
After egg tempera paint, gold leaf was used to add radiance to the painting. The gold indicates the radiant holiness of the Virgin Mary and Christ. The gold leaf in this Italian painting illuminates the figures as though they were in an authentic Byzantine icon.
A medieval painting with strict linear brushstrokes often indicates that its medium is egg tempera. This is easily apparent within “The Virgin and Child” due to the rigid lines that dominate the painting. Italian panel paintings prior to 1400 are most likely pure egg tempera. By the 1500s, however, almost all Italian paintings were executed in oil with the exception of icons (Schadler 4).
