I work in a variety of mediums--watercolor, acrylic, pencil, pastel--according to the requirements of idea and subject. But one holds a special meaning and fascination for me.

It was in l979 when I began exploring the use of egg tempera. The example of l3th - l5th Century Italian panel paintings and icons as well as, in our time, the work of Andrew Wyeth, had kindled my interest. Here, waiting to be tapped, was the most suitable vehicle for the ideas and images emerging in my mind.

Egg tempera is particularly suited to my temperament and technique; its essential nature gravitates toward expansive, slowly-developing imagery. It prompts me to explore and unfold in a patient, concentrated manner, nuances of water, land and sky. Indeed, patience and concentration are essential, as the egg tempera technique reveals its secrets through a time-consuming process. A carefully worked out composition on the wood or masonite panel is usually required. Basic decisions on rhythm and color should also be worked out beforehand since "e.t." is not an appropriate medium for rapid, improvisational imagery; it is the antithesis of watercolor. Whereas a watercolor usually develops from light to dark, egg tempera emerges from middle tones moving toward light and dark, or from dark to light. The underpainting is thus of great importance. Direct application of color onto the gessoed panel will not suffice for achieving the translucent luminosity unique to egg tempera. Such an approach is more suitable for gouache or acrylic. A blue sky becomes--as if through alchemy--luminous and rich with visual overtones when rendered upon an underpainting of Indian red. The nature of egg tempera is in perfect harmony with a "layering" and "glazing" technique. Layering can be continued almost indefinitely with no danger of murky, opaque textures resulting.

A completed "e.t." panel resonates a mysterious subtlety, clarity of detail and cumulative power unique to this medium. Each additional brush stroke, each accumulating layer of paint, molds and evolves the image--as if working with clay--gradually bringing it to an almost palpable life, a magical living presence.

Egg tempera should be applied neither too thickly, resulting in a lifeless, pasty quality, nor too thinly--with the following exceptions. Delicate nuance and modulation is achieved by greatly diluting the paint--as in dry brush watercolor technique--and lightly stroking the chosen area. Magically, an almost imperceptible yet pronounced transformation occurs through minimal physical means. Finishing touches or calligraphic flourishes of final rhythmic definition can be applied with thicker paint.

If watercolor can be compared to the harpsichord and oil paint to the modern grand piano, egg tempera would be analogous to the pianoforte, in use during the late l8th and early l9th Centuries. Egg tempera, as with the pianoforte, is naturally conducive to clear articulation and tonal translucency compared to the more dense texture of oil paint. Oil paint's expressive qualities are wide in range, as is the piano keyboard; egg tempera's range is within a more limited key spectrum. Colors in oil painting tend to darken over time whereas egg tempera color is more durable and lasting. Many panels from the l3th or l4th Centuries retain a freshness, an undiminished luster as if painted today.

The "e.t." medium is fairly easy to prepare: gently crack a fresh egg and carefully roll the yolk in a paper towel so as to dry off excess liquid and egg white. Then, holding the yolk over an empty glass, puncture and allow it to drain. Add a small amount of steam-distilled water (approximately l5-20 drops), a few drops of white distilled vinegar as a preservative (the yolk medium can be used for approximately four or five days when kept refrigerated). Now the yolk medium is ready to be mixed, in roughly equal amounts, with powdered pigment. Thin as needed with the steam-distilled water.

Traditionally an egg tempera was rendered on the gessoed surface of a wood panel such as poplar. While wood is still used among the relatively few "e.t." painters working in our time some, including myself, use masonite panels as a support. The gesso process must result in a flawless, ivory-smooth surface else the inherent subtlety and precision be obscured. While painting an "e.t." (and gessoing a panel) is a demanding and time-consuming process, one's patient and concentrated efforts will be amply rewarded.