Roman Light- Tradition and Innovation

Seeking and finding the muse in the eternal city. An essay by Brian Keeler on taking a workshop in egg tempera, and painting the motif of Rome.

A confluence of light, along with the melding of time-honored traditions lead me to this most recent trip to Italy. These traditions, both in the study of an ancient painting medium, egg tempera that I had never worked with and the opportunity to view a rare collection of paintings by Caravaggio. His full name is Michelangelo Caravaggio da Merisi (1571-1610) and he is the Baroque Italian painter of exquisite and powerful figure painting.

Above- is a plein air painting by the author done during this fortnight period in Rome. It depicts Piazza del Popolo with the iconic double churches at the northern gate of the city. A link to a video of this work during the first session in included at the bottom of the essay.

Study in Rome-

First some reflections of the workshop.  The courses are organized by The Roman Workshops, an atelier of sorts run by Americans- presenting a classical tradition of art that incorporates studio sessions in drawing, sculpture and painting along with art history and tours of the historic sites.  The studios are housed in the ancient Jewish quarter near the theatre of Marcellus.

I had long been attracted to the work of Denver artist Michael Bergt, the instructor.  His use of the ancient technique of egg tempera along with his accomplished paintings which incorporate Greco/Roman myth and other contemporary explorations appealed and connected to my own allegorical work.  One of my contemporary plein air friends seemed rather surprised that I would be forsaking the fluid method and freedom of oil impressions. I am not regarding this experience as a forsaking but as a furthering.

The truth is that I like the exactness of working small in a detailed method.  Working up figures with layers of cross hatching brush strokes is inherently engaging. Egg tempera combines the methods of drawing and painting together with sculpture.   We may think of several artists who also employ the method.   Michelangelo's drawing done in a way to  suggest sculpted chisel marks are part of this.   Other artists who worked in the egg tempera method include Andrew Wyeth, Grant Wood, Thomas Hart Benton and Paul Cadmus among others.  

In the class, a small group of five of us are working diligently each day. The others are copying Renaissance master works, like Ghirlandaio and Botticelli - but one woman is doing a work of a Buddhist deity.  They are also using gold leaf which Michael demonstrated. The advantage of copying a Renaissance painting is that one can study the exact technique of a given master. They trace the image on to a support- specially prepared by Michael in advance using rabbit skin glue and calcium carbonate. Bypassing the challenges of drawing, one can then delve right into the characteristics of the paint. The process of preparing for tempera painting is rather involved with sifting and applying the ground with the use of an air compressor.  Simple acrylic gesso does not work, since the adhesion is not up to snuff.  Using a centuries method of applying the ground seems assured of archival soundness. A brush can be used for the application of the ground in order to keep it more traditional, but Michael likes the smoothness offered by the sprayed-on ground. The spraying process also allows for the completion of many panels at one session.

Above- Michael Bergt drawing a portrait from a model during the class. He later used the study for a small tempera painting.

To view a video of Michael working on the tempera painting that resulted from this study- with an overview of the tempera medium- view this link: https://youtu.be/xIM_t3-d4nQ?si=mOgJysWMryq6ey9R

I chose to use some bacchanal works and other images, from recent sketches at the MET and from the statues of similar themes by Bernini, which we viewed at the Borghese.  I incorporated these into landscapes of the Finger Lakes.  The quick drying of the egg tempera has many advantages. The primary one is the fast drying, which allows for almost immediate subsequent layers. Glazes can be applied with thinned out paint.  So a very nuanced and beautifully articulated surface can be obtained.  My concern or impediment to enthusiastic pursuit is the difficulty of panel preparation. I am, at this point, not quite so clear on the use of water as a solvent. Ideally, I understand it better to use the paint immersed in egg yolk directly.

Each day Michael presents a slide show on his work and those of others to provide an overview. The presentations offer a context of how egg tempera is used today. His evocative and adventurous imagery is inspiring and illustrative of how personal and relevant art can be. It is a great opportunity to study with Michael.  In a private conversation we mused about many things including lead white, the now banned element of painting used for centuries.  We noted the beautiful brushwork of Rembrandt that is tactile and robust- and perhaps based on lead white.Michael's connection to tempera includes study with George O'Hanlon of Natural Pigments Company, which has been essential to his own growth and understanding.  Michael is also the founder of the American Egg Tempera Association. 

So, all in all, the workshop has been inspiring in many ways with conducive group dynamics. As the school is also a sculptural atelier it is inspiring to see the work of the director, David Simon and his colleague Ishmael at work on beautiful head studies in the next room.  David leads the tours around the area while pointing out many interesting factoids about the famous turtle fountain (more on that later), Pasquinades the statue for venting grievances and so much more. The bronze plaques covering select cobblestones in front of the former homes of Jewish residents with the names of those abducted by Nazis during World War II is a poignant reminder of the continued threat of fascism.  David's insights into the sculptural methods of Bernini and Canova at the Borghese were particularly insightful and added great depth to our understanding of these iconic marble figurative allegories.

During the first week I have been out painting plein air studies along the Tiber and other areas. Just yesterday, I strolled over to the Piazza del Popolo to record an impression on the piazza. The raking and beautiful afternoon light on the two churches was the motif.  I recalled doing a pastel  from atop a wall at this piazza about 25 years ago.  

On Caravaggio

Above- students in the workshop availing themselves of Caravaggio work in the Barberini- Judith Beheading Holofernes.

Above -one of the masterpieces by Caravaggio on exhibit at the Barberini in Rome. This oil, titled "The Taking of Christ," was painted in 1602. The painting is on loan from The National Gallery in Dublin, Ireland. To view a video of the author sketching from this painting in Dublin- view this video: https://youtu.be/bIsBaJ_HK64?si=4jOCTGtW-rMIcVKn

The Caravaggio show was certainly a delight and part of the confluence mentioned here in the title of this essay.   His depth of perception and beauty of draftsmanship is astounding.  One understandably wonders how he created these revolutionary works as there are no extant studies. One canvas which viewed at the National Gallery in Dublin a few years back was noteworthy.  The pathos and drama are amazing. Michael noted that one work, The Conversion of Paul, was groundbreaking even though it was rejected.  The more famous version, and second attempt is in a church at the Piazza del Popolo.  The tour for our group was led by Hollis Dunlap, a painting instructor at the studio.  And it was great to hear his take on these works as he is clearly a fan of Caravaggio.

One of my first paintings during this trip was to return to the motif of the turtle fountain, next to the Jewish quarter. I had painted this several years ago with a student. This time I did a later afternoon study- the light stays constant for several hours as it is in shade. And then I returned for a nocturne. It is dramatically lit and this light at night stays constant. It is relatively quiet here and a small cafe looks out on the piazza. The four nude male figures featured in the fountain are frolicking and articulated nicely in bronze. We learned that water pressure was not up to expectations of the architect Jacopo Della Porta. So the original dolphins placed on top did not gush sufficient water. Thus they were replaced by the turtles.

Above- an 18" x 18"nocturne oil by the author of the Fontane della Tartughe in Rome.

The heat has been brutal this week, verging close to 100 degrees each day. But surprisingly, I am adapting- and we are in AC rooms most of the day and night.

The dining has been great as always with new dishes and wines discovered.  And as a final delight- it has been my dream to play swing tunes on the Ponte Sisto for many years.  And lo and behold, one of the other participants, Alex Quinn from Buffalo, NY brought his saxophone and we played one afternoon on this bridge connecting to the Tiber Island.  We made one Euro

Above- Keeler painting the turtle fountain in Rome. Resources

To learn more about the Rome Workshops- https://theromeworkshops.com/workshops/

To View a video of the turtle fountain painting being created- check out this link: https://youtu.be/_HMaahW9_eo?si=qZD8gVAKpPwSfPT9

To view a video on the painting of Piazza del Popolo, go to this link: https://youtu.be/UFD1sHSdhUM?si=rTyEpiv9cN16p6Ua