Continuing the ‘Egg
Tempera’ Icon Technique
in the Modern era
Geoffrey Horgan
ISS Institute Special Art Fellowship
Sponsored by Maria Myers AO and Allan Myers QC AO
ISS Institute Inc
APRIL 2014 ©
ISS Institute
Level 1
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Published by International Specialised Skills Institute, Melbourne
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© Copyright ISS Institute April 2014
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i. Executive Summary
The Fellow was a barrister by occupation until his retirement in 2012. He had a successful career
practising as a Crown Prosecutor and had attained the rank of Senior Counsel. Despite the
commitments of a busy practice, he had a passion for European medieval painting and iconography.
Iconography is the specific form of religious art that developed in the Byzantine Empire. Until about
1500AD, all painting, whether religious or secular, was done in a technique known as egg tempera.
Over many years, in pursuit of his passion, the Fellow largely taught himself the how to paint in the
technique used to produce the art he was interested in. Although it is not now the case, it was not then
possible to study the tempera technique in Australia. He therefore had to learn by trial and error and
with what assistance he could glean from acquaintances and the literature on the subject.
Over the years Horgan achieved some success in the practice of his craft as a tempera painter to the
extent that his work now hangs in many churches and private homes in Melbourne and elsewhere in
Australia. He was always conscious of the fact, however, that he lacked formal training and had not
had the opportunity to work with fellow painters and be peer reviewed. The Fellowship provided an
excellent opportunity to allow him to gain the knowledge and skills he had missed and also allowed him
to assess where he stood on an international scale.
Horgan attended two courses as a result of the being awarded the Fellowship in 2013; one in England
and one in Bethlehem. Both courses were of a very practical nature and each attended by small groups
which allowed for very personal tuition. Each course was conducted by a person acknowledged as
an expert in the field. There are a number of quite different methods of tempera painting and Horgan
chose as his mentors, people who practised different techniques. He completed a small painting during
each course. The Fellowship also enabled him to visit important places where significant examples of
tempera and related works are to be found: Florence and the ancient city of Constantinople, Istanbul.
The Fellow considers that the ISS Fellowship has given him the opportunity to hone his skills, learn
aspects of the tempera technique from his mentors and to assess his own work in an international
context. He has already completed some pieces since returning, drawing on the recent overseas
experience. He is immensely grateful for the opportunities the Fellowship provided.
Table of Contents
i iii. Definitions
1
1. Acknowledgements
3
2. About the Fellow
4
3. Aims of the Fellowship Program
5
4. The Australian Context
6
5. Identifying the Skills and Knowledge Enhancements Required
7
6. The International Experience
14
Destination 2: Bethlehem
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7. Knowledge Transfer: Applying the Outcomes
33
8. Recommendations
1
7
Awarding Body – International Specialised Skills Institute (ISS Institute)
Destination 1: High Wycombe, UK
iii. Definitions
Gesso
Plaster mixed with rabbit’s skin glue. It is painted onto a support, usually a wooden board, in liquid
form. When dry it is sanded and polished and is the surface to which the tempera paint is applied.
Melkite
A form of Roman Catholic Christianity following Byzantine practices. It is a little different in outward
appearance to the Russian and Greek Orthodox churches.
Prosopon school/technique
A modern iconographic technique originally from Russia and thence transported to Europe and the
USA. It claims to be the authentic technique used to produce the famous Russian works of the 15th
and 16th Centuries. Colour is applied in successive light washes rather than put on in opaque form.
There is some controversy as to its authenticity.
Tempera
A technique of painting where the paint is made by suspending colour pigment in a mixture of egg yolk,
water and vinegar or alcohol. The paint is then applied to a plaster surface which has been painted
in liquid form onto a wooden panel. The plaster surface is called ‘gesso’. Most painting until about
C1500 was done in the tempera technique, either on gessoed wooden panels or gessoed canvas.
The painting has a rather ‘hard edged’ appearance but is typically bright. Backgrounds are often in
gold leaf.
Water Gilding
There are essentially two different ways of applying pure gold to a painting. The first is called ‘oil
gilding’. Here gold leaf is attached to the surface using ‘size’ or glue. This is a relatively easy technique.
The other way is ‘water gilding’. Here gold leaf is attached to moistened clay, called ‘bole’, which has
been finely painted onto the gesso. It is considerably more difficult than the former method but it
enables the gold to be burnished or polished.
i
1. Acknowledgements
Geoffrey Horgan thanks the following individuals and organisations that have generously given of their
time and their expertise to assist, advise and guide him through this Fellowship program.
Awarding Body – International Specialised Skills Institute (ISS Institute)
The International Specialised Skills Institute (ISS Institute) is an independent, national organisation. In
2015 it is celebrating twenty-five (25) years working with Australian governments, industry education
institutions and individuals to enable them to gain enhanced skills, knowledge and experience in
traditional trades, professions and leading edge technologies.
At the heart of the ISS Institute are our individual Fellows. Under the Overseas Applied Research
Fellowship Program the Fellows travel overseas. Upon their return, they are required to pass on what
they have learnt by:
• Preparing a detailed report for distribution to government departments, industry and educational
institutions
• Recommending improvements to accredited educational courses
• Delivering training activities including workshops, conferences and forums.
Over 300 Australians have received Fellowships, across many industry sectors. In addition, recognised
experts from overseas conduct training activities and events. To date, 25 leaders in their field have
shared their expertise in Australia.
According to Skills Australia’s ‘Australian Workforce Futures: A National Workforce Development
Strategy 2010’.
Australia requires a highly skilled population to maintain and improve our economic position in the face of
increasing global competition, and to have the skills to adapt to the introduction of new technology and rapid
change. International and Australian research indicates we need a deeper level of skills than currently exists
in the Australian labour market to lift productivity. We need a workforce in which more people have skills
and knowledge, but also multiple and higher level skills and qualifications. Deepening skills and knowledge
across all occupations is crucial to achieving long-term productivity growth. It also reflects the recent trend
for jobs to become more complex and the consequent increased demand for higher-level skills. This trend
is projected to continue regardless of whether we experience strong or weak economic growth in the future.
Future environmental challenges will also create demand for more sustainability related skills and knowledge
across a range of industries and occupations.
In this context, the ISS Institute works with our Fellows, industry and government to identify specific
skills and knowledge in Australia that require enhancing, where accredited courses are not available
through Australian higher education institutions or other Registered Training Organisations. The Fellows’
overseas experience sees them broadening and deepening their own professional knowledge, which
they then share with their peers, industry and government upon their return. This is the focus of the
ISS Institute’s work.
For further information on our Fellows and our work see http://www.issinstitute.org.au.
Geoffrey Horgan also thanks the CEO (Bella Irlicht AO) and staff (Ken Greenhill and Paul Sumner) of
ISS Institute for their assistance in planning and development of the Fellowship and completion of this
report.
Governance and Management:
Patron in Chief:
Chairman:
Board Members:
Patrons:
Deputy Chair:
Bella Irlicht AM, CEO
Rosemary O’Connor
Jon Onley
Mr James MacKenzie
Treasurer:
Alisia Romanin
Lady Primrose Potter AC
Mr Tony Schiavello AO
Founder/Board Member:
1
Sir James Gobbo AC, CVO
John Baker
Jack O’Connell
Professor Amalia Di Iorio
David Wittner AO
1. Acknowledgements
The Fellow, Geoffrey Horgan, acknowledges the significant support given to him by Maria Myers A0
and Allan Myers QC AO. He also wishes to acknowledge the encouragement and advice of Sir James
Gobbo AC CVO and ISS Institute for enabling him to undertake the Fellowship study tour and to attend
the two advanced courses.
Horgan also thanks those impacted by the Fellowship and those who engage the Fellow to complete
works in tempera. These will be private patrons, churches and schools in Australia.
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2. About the Fellow
Name
Geoffrey Michael Horgan
Memberships
Member, Australian Guild of Artisans
Member, British Association of Iconographers.
Brief Background
Horgan practised as a barrister until he retired from practice in May, 2012. For most of his professional
life he was self-employed at the Victorian Bar. After nearly 20 years he spent two years as a magistrate
before returning to the Bar as a Crown Prosecutor in 1995, eventually taking silk in 2000.
So much for the ‘day job’. Horgan has been interested in painting from his earliest years, particularly
in the egg tempera technique, the universal technique for picture painting in Western Europe and the
Middle East until the 16th Century. Oil painting, and later acrylics, have largely replaced the tempera
technique but it is still used today, most typically in religious painting. He has paintings in many churches,
Catholic and Orthodox, and in schools and private homes in Melbourne and elsewhere in Australia.
Whilst completing his law studies, Horgan taught himself the tempera technique. At that time (the mid60s) the technique was little known in Melbourne and nobody was teaching this style.
Over many years he has received commissions and, notably, has major pieces in St Patrick’s cathedral
in Melbourne and other city churches. He has painted the iconostasis1 of the Greek Orthodox Church
of ‘The Nativity’ in Port Adelaide and parts of the iconostases of Greek and Macedonian churches in
Melbourne and Bendigo. He painted a large hanging cross after the style of the 12th Century Italian
painter, Cimabue, for the Australian Catholic University in Sydney and has produced similar large
pieces for a number of churches in Melbourne.
1
3
The painted screen across an Orthodox church separating the nave from the altar area.
3. Aims of the
Fellowship Program
The Fellowship has provided Horgan the opportunity to further his knowledge of tempera painting.
One of the consequences of his being self-taught was that he has had to work out for himself how to
get his work to look ‘just right’. This was a trial and error process and because the technique was little
practised in Australia, he did not have access to teachers able to take him through tried and true ways
of solving the various artistic issues with which he was presented.
There are a number of people now teaching tempera painting in Australia but Geoffrey felt that his
experience was comparable to theirs and he wanted to access teachers of greater skill and international
standing.
Particular skills the Fellow addressed were:
• Selection and preparation of the board to be painted
• Application of the gesso
• The making of the paint
• The manner and sequence of applying colour
• Water gilding.
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4. The Australian Context
Today there are a number of persons teaching tempera painting and iconography in Australia. This is
a relatively new phenomenon. When Horgan began to pursue the technique in the late ‘60’s this was
not the case. He had to teach himself and learn by his mistakes. Over the years Horgan achieved some
success in the practice of his craft as a tempera painter to the extent that his work now hangs in many
churches and private homes in Melbourne and elsewhere in Australia. He was always conscious of
the fact, however, that he lacked formal training and had not had the opportunity to work with fellow
painters and be peer reviewed. The Fellow considered that he had little to gain from studying tempera
painting in Australia. He considered that those teaching were not able to add to his knowledge base and
were not further advanced in the technique than he was or approached the technique with a different
aesthetic. The Fellowship provided an excellent opportunity for Horgan to acquire knowledge and skills
not available in Australia, working with international persons of superior experience, knowledge and
ability.
5
5. Identifying the
Skills and Knowledge
Enhancements Required
There are examples of areas in Australian industries and activities where there are weaknesses in skills,
knowledge, experience, innovation, policies and/or formal organisational structures to support the
ongoing successful development and recognition of individuals and the particular sector.
The focus of all ISS Institute Fellowships is on applied research and investigation overseas by
Australians. The main objective is to enable enhancement and improvement in skills and practice
not currently available or implemented in Australia and the subsequent dissemination and sharing of
those skills and recommendations throughout the relevant Australian industry, education, government
bodies and the community.
The skill enhancement areas to be addressed through this Fellowship were:
• Studying the traditional techniques of tempera painting from international experts in the field
• Working with and receiving instruction from artists of international standing skilled in the egg
tempera technique
• Exchanging ideas and information with these experienced painters
• Taking the opportunity to see the Fellow’s work being critiqued by acknowledged experts.
As a result of the opportunities afforded by the Fellowship, Horgan will be able to:
• Execute his work to an international standard
• Exhibit his work along with other artists working in the area in Australia and when the opportunity
presents, overseas
• Disseminate his knowledge
• Broaden the knowledge base in Australia relating to tempera painting.
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6. The International
Experience
The Fellow’s primary intention in travelling overseas was to attend two intensive courses run by
internationally renowned iconographers; one conducted by Irina Bradley in the United Kingdom (UK)
and the other conducted by Ian Knowles in Bethlehem on the West Bank, just outside of Israel.
The first program in the UK was of five days duration from 9 am to 5 pm. The second was a live-in
course of eight days duration from 8.30 am to ‘whenever’ (usually well into the evening).
Before the first course, Horgan travelled to Florence and Siena for a week with members of his family
and used time there to revive his memory of the European masters who used the egg tempera
technique, particularly Cimabue, Duccio, Giotto and Fra Angelico.
The second course was a short distance from Jerusalem. The church of the Holy Sepulchre in
Jerusalem contains a number of ancient Greek icons, as does the church of the Nativity in Bethlehem.
On his way home from Israel, Horgan was able to stop over in Istanbul to see, once again, the mosaic
decoration in Hagia Sophia and the mosaics and frescoes in St. Saviour in Chora; the iconography in
these churches unarguably being the inspiration for all subsequent iconography.
Destination 1: High Wycombe, UK
Contact: Irina Bradley
The first course was conducted in Irina Bradley’s studio in her home from 16 to 20 September in High
Wycombe; a commuting town north-west of London. Photographs of the studio and the Fellow’s work
in progress and that of some of the others attending the course can be seen below. The core group of
the course included seven students: four from the UK (including Jersey) and three internationals –
Taiwan, Florence and Horgan from Australia.”
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6. The International Experience
At various times during the course, other students Irina Bradley was teaching attended to work on
pieces they were doing under her supervision. The studio was sufficiently large for the size of the
group, well-appointed and light, even for an English autumn. Bradley had supplied all materials
necessary for painting, including boards, brushes and paints.
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6. The International Experience
Bradley is Russian born woman in her mid-40s. She studied iconography under a master in Moscow
and is herself an accredited master of the Prosopon School of iconography. The word ‘Prosopon’
needs explanation. All traditional iconography is painted on plaster (gesso) and painted when hot and
in liquid form onto wooden panels. The paint used is a mixture of egg yolk, vinegar or alcohol, water
and raw colour pigment. That said, there are many different techniques as to the way the colour is
applied, the strength of the pigment, the pigments used and so on. The Prosopon technique is, and
not without some controversy, argued to be the method used by Russian iconographers of the 16th
Century; the period generally regarded as the high point of Russian iconography.
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6. The International Experience
The significant feature of the technique is the gradual build-up of colours by very light successive
washes so as to retain the light coming through the paint layers from the brilliant white of the gesso
base. Bradley teaches iconography at the prestigious Prince’s School based in London, a tertiary
institution teaching a wide variety of decorative arts, and she teaches privately. Due to Horgan’s and
the other international student’s interest in studying under her, she designed the short intensive course,
rather than the longer courses she would normally have conducted which typically last months or
years. The focus of the course at High Wycombe was not, and could not be in the short time available,
a compendious instruction on icon or tempera painting, but rather a practical demonstration of the
specific technique. All those attending the course were experienced iconographers, the Taiwanese
artist being a well-known photo realist painter now developing an interest in iconography.
Objectives:
The Fellow’s objectives were to study a technique of
icon under an acknowledged master iconographer; to
learn to apply that technique in his own work, to iron out
shortcomings in his work and to be in a position to evaluate
his ability and technique in comparison with the master’s
and the others attending the course.
For the course, Bradley provided materials of the finest
quality, including beautifully prepared lime boards already
gessoed and polished (three centimetres thick with two
rear spline braces, 24 x 30 centimetres), Russian sable
brushes and only natural colour pigments. Her pigments
included materials not normally associated with painting,
e.g. limonite, glauconite and other crystals. Drawings from
which to make the pictures had already been prepared by
her and it was only necessary to trace them onto the
boards before the students could commence painting. The
theme was St. George and the dragon; St. George sitting
atop a white horse and spearing the dragon, a symbol of
evil.
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6. The International Experience
This report is not the place for a detailed description of the Prosopon painting technique but a short
summary might be useful. Once the drawing is established on the board, the shapes are coloured with
a crystalline wash of various hues. Some of these were surprising, e.g. to end up with a white horse a
light wash of purple was applied, upon which successive lighter shades were applied – surprisingly it
worked. The crystals are removed the following day by scraping. Gradually over several days the icon
starts to emerge as colours are applied and detail is added. The essential task is to preserve the light
from ‘within’ the icon, emanating from the gesso base. The photos taken by the Fellow and included
in this report give some idea of the evolving process.
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6. The International Experience
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6. The International Experience
Outcomes:
The Prosopon technique was something the Fellow
had read about but had not seen applied. Studying
with Bradley provided the opportunity to ask
questions, to see the technique demonstrated and
explained and to practice it under the supervision of
a master. The Fellow’s initial thoughts after applying
the crystals were, “What a mess. Nothing will come
of this!” He was tempted to despair of producing
anything worthwhile. In the end he was reasonably
satisfied with the completed icon he had produced
at the completion of the course. He was satisfied
he knew enough of the technique to start using it
when he returned home, either on its own, or in
conjunction with other techniques. Bradley provided
a reading list and details of the Prosopon website
where videos and reading materials are available.
She will make herself available via the internet to
respond to queries or problems that might arise in
the future. There is therefore the opportunity to seek
continuing guidance and assistance from her.
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6. The International Experience
Destination 2: Bethlehem
Contact: Ian Knowles
The second course was conducted at a Benedictine Melkite Convent just inside the wall separating the
West Bank from Israel. The course was run by Ian Knowles, a British icon painter who studied under
and is a colleague of Aidan Hart, one of the English speaking world’s most prominent iconographers.
(As Aidan Hart does not run short courses there was no opportunity to study with him without the
Fellow actually emigrating!)
The group consisted of two
English women, one American,
one German, three Palestinians,
two of the nuns living in the
convent (French) and the Fellow.
Apart from the Palestinians and
Horgan, the others attending
the course had some, but not
extensive, experience. Although
Knowles lives mainly in UK he has
a passion to teach iconography
to Palestinians. He regards
iconography as part of their
Christian heritage that they have
largely lost due to the ‘latinising’
tendency
of
their
various
denominations, whether they be
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6. The International Experience
Melkite (Catholic), Orthodox or Syrian Monosphite. He runs the Bethlehem Icon School, associated
with the Bethlehem University.
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6. The International Experience
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6. The International Experience
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6. The International Experience
Objectives:
Whilst Knowles supplied prepared and gessoed laminated wooden boards (16 x 32 centimetres) he
did not provide brushes, pigments or other drawing or painting tools. The students had been warned
that they would have to supply their own equipment. As with the High Wycombe course, the venue
was excellent.
The Fellow’s objectives were the same as for the first course. Knowles, however, teaches a different
technique to that taught by Bradley. Knowles’ tuition also included the preparation of the drawing from
which the icon was to be made and the ‘theory’ behind its construction.
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6. The International Experience
19
6. The International Experience
Knowles’ analysis of the great icons of the past has led him to conclude that they were designed
according to geometric principles. He is not the first to have reached this conclusion. A popular
geometric analysis of the structure of icons is to see them as a pattern of squares, circles and triangles.
Knowles, however, sees them as structured around intersecting circles, an analysis the ancient Greeks
called the ‘Flower of Life’. Whatever the case, at the commencement of the week the students were
asked to copy an icon of St. Luke from a 12th Century manuscript from the St. Catherine’s Monastery
in the Sinai, using the ‘Flower of Life’ analysis. The Fellow has kept the drawings he made for the
preparation of the icon.
Knowles’ technique, when it came to the actual painting, was in some respects very different from
Bradley’s. He used a variation of the Prosopon method for some parts of the icon he was demonstrating
but then what is called the ‘proplasmos technique’ for other parts. This technique involves building up
from a darker base colour to successive layers of highlighting. This technique is the one more commonly
used in iconography. The Fellow’s objective was to see a very experienced and talented iconographer
apply the combination of techniques. Knowles worked on his own version of the St. Luke icon as the
students worked on theirs. They were thus able to see the practical application of his teaching.
20
6. The International Experience
Outcomes:
Knowles’ completing his own version of the icon alongside the students was a most helpful way of
explaining his technique. The students all completed their works in time, taking their work from the
preparation of the drawing stage to the completed icon. The Fellow was pleased with the icon he
completed during the course and was further pleased that his work was well regarded by Knowles.
Knowles has made himself available to provide ongoing assistance to his students in the future. He
is readily contactable by email and is an enthusiastic Facebook user. He referred the students to
the comprehensive tome by Aidan Hart, Techniques of Icon and Wall Painting Egg Tempera, Fresco,
Secco, Freedom Publishing, 2011, as a first stop reference manual and he provided details of other
literature, some of which was available in the convent library and used during the course.
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6. The International Experience
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6. The International Experience
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6. The International Experience
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31
7. Knowledge Transfer:
Applying the Outcomes
As a result of the opportunities afforded by the Fellowship, Horgan was able to attend two international
training and development programs, working with experienced people from a number of countries.
This experience will enable him to:
• Execute his work to an international standard
• Exhibit his work along with other artists working in the area in Australia and when the opportunity
presents, overseas
• Disseminate his knowledge
• Broaden the knowledge base in Australia relating to tempera painting.
32
8. Recommendations
The whole overseas travel experience was most valuable. It provided an opportunity for the Fellow
to renew his acquaintance with masterpieces found in Italy and Istanbul and enabled him to see the
iconographic decoration in the churches of the Holy Sepulchre and the Nativity in Jerusalem and
Bethlehem respectively. The work in these churches (in the Holy Land) and museums (in Turkey)
formed Christian iconography and continues to inform it. It is not possible to work as an iconographer
without a thorough acquaintance with this work.
The work of the Italian masters referred to above comes out of the iconographic tradition. The style
was gradually changing as Western Europe headed towards the Renaissance, but the technique used
was precisely the same as that used by iconographers. The Italian masters’ use of the technique was
sublime. The opportunity to look again at their work at close quarters was invaluable.
Both the courses the Fellow attended were very different; the first concentrated on imparting knowledge
of the technique said to have been used by the Russian masters of the 16th Century. This was achieved.
The Fellow has ongoing access to his teacher in High Wycombe. He is pleased with his first efforts
in the Prosopon technique, which he intends to explore further in the future. The second course was
broader in purpose; it included an analysis of the design structure of the icon and the preparation of
the drawing from which the icon was made. Further, the technique applied was the prevailing one in
iconography. The Fellow had the benefit of the teacher working alongside him completing his own
piece with whom he could consult whenever he wished.
In both courses the Fellow was able to evaluate his work against those of his teachers and fellow
students. Whilst in no sense is there a competition, it is stimulating and challenging to see the standards
others have reached.
This Fellow considers he has had a rare opportunity to improve his own skills, learn advanced
techniques and immerse himself in an art form he loves.
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