This workshop offers an in-depth exploration of traditional tempera painting techniques, drawing inspiration from the practices of painters from the 14th to the 16th centuries.
Through the study of materials, the preparation of the support, and the various stages involved in creating a historical painting, participants discover a working method based on precise drawing, the gradual build-up of paint layers, and mastery of the medium.
The course draws on the legacy of Italian workshops and the practices of medieval and Renaissance painting: panel preparation, sizing, priming, preparatory drawing, transfer, application of colors, layering, glazing, and finishing.
Particular attention is paid to understanding the techniques of historical painters, their relationship with materials, and the time required to build the image.
Upon completion of the course, participants will be able to:
The first day is devoted to exploring the technical fundamentals of traditional painting.
Objective for the day: to understand that traditional painting is built up in stages and that the quality of the image depends as much on the preparation as on the painting itself.
The second day delves into the heart of the painting process: the gradual construction of color and volume.
Particular attention is paid to the patience of the brushstroke, the subtlety of the layers, and the way an image is built up gradually rather than through the immediate application of color.
The final day provides an opportunity to delve deeper into the work and discover the steps that give the painting its unity and depth.
The day concludes with a discussion on the possibility of reinterpreting traditional techniques in a contemporary context, without losing their technical rigor or material richness.
From a young age Louise Wijnberg had a passion for cultureand the visual arts and especially the technical side of it.
To become a technical art historian, she studied at the Sorbonne in Paris, Art History and Conservation and Restoration of Cultural Heritage. She specialized in the conservation of aasel paintings and concluded her study with a doctorate. She lived for ten years in Paris and was some time involved with ICOMOS and ICOM (International Council of Museum) linked to UNESCO.
A long-standing career of three decades followed as painting conservator at the Stedelijk Museum of Modern and Contemporary Art in Amsterdam, where she was also involved with the scientific research of different conservation topics and the technique of Artists. She published many articles in international journals and books.
In 2018 she founded her own company of conservation and restoration and is active in teaching at Institutions and University’s and giving workshops on an international level. All based on her long-standing experience.
Her interest is not only focussed on Modern Arts but was always open to other special fields. One of them is Venice, it’s history, art’s history and architecture. She professionally visits Venice yearly. She travelled in the past several times as courier to Venice as conservator to accompany works of art for different Biennales.
She got this year a contract at the RCE – The Dutch National Heritage Agency - in Amsterdam for a special research projects on a
The training program alternates between:
The curriculum emphasizes a progressive and hands-on approach, allowing students to understand techniques through practice and observation.
Assessment takes place throughout the training program through:
sola di San Servolo,1
Venice, Italy 30124
General Inquiries:
T: +39 344 7702 589
[email protected]
