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Old 24-03-18, 09:05 PM
dbclemons dbclemons is offline
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Join Date: Mar 2006
Location: Texas
Posts: 231
Default E.T. Lecture and Demo - Chads Ford, PA

A friend of a friend recently posted this elsewhere, and I thought others here might like to know. There will be a lecture and demonstration on egg tempera at Chads Ford, PA sponsored by the Brandywine River Museum of Art on April 10th.

I can't be there, but hopefully someone here can attend and share.
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Old 01-04-18, 10:12 PM
arbrador arbrador is offline
Join Date: Aug 2003
Location: USA
Posts: 65
Default Brian Baade

Hi DBCmens,

This demo by Brian Baade looks great! I was at the Brandywine museum last year and spent a few days viewing the collections and going on all the guided tours offered including Andrew Wyeth's studio, NC Wyeth's home and fabulous studio. I highly recommend it.

Brian Baade was one of the presenters at the Tempera Conference I recently attended in Munich. Here is the abstract of his presentation which includes his bio at the end:

The Spiritual from the Material: An Exploration of Henry Ossawa Tanner's Complex Tempera Systems in his Later Visionary Paintings by Brian Baade, Amber Kerr, Dr. Kristin deGhetaldi, and Jennifer Giaccai.

The majority of the mid and late career paintings of American artist Henry Ossawa Tanner were executed using unconventional paint media and complex layering systems. These include both materials common to paintings of the era and unique, idiosyncratic tempera paints formulated by the artist. Tanner recorded his experimental paint recipes in his journals as well as on handwritten notes he left tucked behind or written directly on the reverse of stretcher bars of select paintings. Tannerís paints are complex mixtures of drying oils, mastic resin in turpentine, parchment glue, aqueous flax seed extraction, and lanolin. The resulting paint appears to straddle the inversion point between oil-in-water and water-in-oil emulsions. Tannerís journals and notes housed in the Archives of American Art and in the collection of the Smithsonian American Art Museum in Washington, DC have enabled reconstruction of the Tannerís paints from his original recipes. Reconstruction of the recipes allowed a greater understanding of their handling, application, and optical qualities. Archival sources and early experimental results suggest that Tanner often preheated his tempera to facilitate painting although he may have created particular effects using the medium cold. Instrumental and cross-sectional analysis corroborated Tannerís selective use of interlayered, isolating coats of natural resins, his tempera medium, or animal glue to facilitate and create his unique paint quality. Reconstructions suggest that the artist selected and interspersed these coating materials within the paint stratigraphy based on the way in which they would influence the superimposed tempera layers and achieve particular optical effects. Preliminary findings were briefly mentioned in the technical article on Tanner published in the 2012 exhibition and catalog Henry Ossawa Tanner: Modern Spirit. Expanded research since 2012 includes a greater exploration of Tannerís medium and layering strategies, the analysis of new samples from his works, and follow up analysis to confirm the materials in his paint. The goal is to enhance our understanding of the optical effects and handling properties of his complex paint systems and to better understand the aging properties and preservation challenges associated with Tannerís paintings. Examination and analytical techniques have expanded to include cross-sectional microscopy, IRR, FORS, RTI, Xradiography, XRF, SEM-EDS, FTIR, GC-MS, Pyro-GC/MS, and ToF-SIMS. This paper continues the exploration of Tannerís recipes and application/layering strategies and documents additional analysis of Tannerís paintings and the reconstructions.

Biographies: Brian Baade received an MS in art conservation from the Winterthur/University of Delaware Program in Art Conservation where he specialized in painting conservation. He has participated in numerous technical studies including a major project documenting the techniques of Henry Ossawa Tanner, art materials research, and technical art history initiatives. A large part of his work over the last decade has been the research and creation of historically representative reconstructions of Old Master paintings and techniques to be used as educational didactics and the creation of the a website sponsored by the Kress Foundation to disseminate this work to a larger audience. He and his partner Dr. Kristin deGhetaldi have recently created a website and online forum hosted by the University of Delaware to field questions from artists about issues of sound practice and the preservation of their artwork. Brian is currently an assistant professor in the art conservation program at the University of Delaware.

Amber Kerr is paintings conservator at the Smithsonian American Art Museum Lunder Conservation Center, an innovative conservation facility with floor to ceiling glass walls that permit the visiting public to view ongoing conservation treatments and a facility that promotes public awareness about conservation topics. She received her Master of Science from the Winterthur/University of Delaware Program in Art Conservation and is a dedicated advocate for raising professional and public awareness in conservation, preservation, and technical art history. Beyond her role as paintings conservator, Ms. Kerr is a Fellow of the International Institute of Conservation where she serves on council in addition to her contributing roles as Social Network Editor for the IIC Facebook, Linked In, and Twitter pages and serves as a Coordinator for the IIC Point of the Matter Dialogue Series. Ms. Kerr also serves on the governing board for the Society of Winterthur Fellows and as a co-chair for the ICOM-CC Education and Training Committee. Kristin deGhetaldi obtained her M.S. in Art Conservation from the Winterthur/University of Delaware in 2008 after receiving a Bachelorís degree in Chemistry and a Post-Baccalaureate Certificate in Conservation at the SACI Program based in Florence. Since then she has participated in numerous internships and contract positions including the RISD Museum, the J. Paul Getty Museum, the Rijksmuseum, the Smithsonian and the National Gallery of Art in Washington. Recently she has helped to launch the Kress Technical Art History Website, completed the conservation of a 12 by 20 ft 17th-c painting at Villanova University. In 2016, Kristin was awarded her PhD in Preservation Studies, from the University of Delaware where she focused on binding media analysis of 15th c Italian paintings at the University of Delaware.

Jennifer Giaccai is a conservation scientist at the Freer Gallery of Art and Arthur M. Sackler Gallery of the Smithsonian Institution. She has previously worked at the Smithsonianís Museum Conservation Institute and the Walters Art Museum. She has degrees in Materials Science and Chemistry from the Johns Hopkins University and Macalester College.
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