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| Tempera, a very ancient pictorial technique, was already used by Italian Primitive painters. The colour in powder is diluted, " watered down " with a water medium to which an agglutinant is added. The different kinds of tempera depend on the nature of the binder (glue, egg, gum... ), the various ingredients (oil, essence, vinegar... ) and the different proportions. Like Sérusier and Magnelli , J.D. preferred paintings that did not shine. By using tempera, he could get extremely mat paintings. After countless trials over many years, he worked out his own recipe. In May 1951, he gave up conventional oil paint to paint definitely in tempera. Such a choice entailed a significant change : shades became fresher, brighter, more mat and tranparent. To make two liters of medium, J.D. used 8 eggs, half a liter of linseed oil, half a liter of acetic acid or white vinegar and a liter of water l. fle got a very good emulsion by mixing first oil and yolks, like for a mayonnaise - incidentally, he called it like that. Then he beat egg whites with water and vinegar. Finally, he mixed the whole of it with a mechanical | whist expressly used for it and bottled
the emulsion. When he was painting, he took a little mixture
to water down and dilute the colour in powder, grinding it all very
carefully on the marble top of an old console by way of palette. At Sennelier he would buy the best colours in powder, discarding less solid pigments (such as gloss paint, madders, chromes) and any imitation colour. He stuck to eight or ten basic shades with light or dark variations. In general, he did not mix sienna and cadmium.
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