Egg Tempera Paintings and
562 Alstead Center Road
Biography: Koo Schadler is a popular workshop instructor, and
has taught egg tempera and old master painting classes around the US and
abroad. Her exquisitely detailed egg
tempera paintings and silverpoint drawings are in more than 400 private and corporate
collections worldwide, and in the permanent collections of over 10
museums. Schadler is a master painter of
the Copley Society of Art in Boston, MA, a board member of The Society of
Tempera Painters, and a contributing editor to The Artists’ Magazine. Her work is represented by the Arden Gallery,
Boston, MA, J. Cacciola Gallery in New York, NY, and Tree’s Place, in Orleans,
MA. Her comprehensive book on egg
tempera has been described as “one of the most concise and useful books on the
art of egg tempera painting…should be on the bookshelf of every serious
artist”. For more information, visit www.kooschadler.com.
Artist’s Statement: I
became a painter because of my love for craftsmanship and my love for old
master painting. My love for the natural
world gives me my subject matter. These
inspirations are fundamental, and sufficient to explain all the artwork I
produce. Nonetheless I will say a bit
more about what I do.
tempera painting consists of three simple ingredients: powdered pigments, egg
yolk and water. Paints are made fresh
daily and applied to a panel covered with traditional, homemade gesso made from
rabbit skin glue and chalk. The paint is
applied in very thin, often transparent coats of pure color that dry to the
touch within seconds. Scores of layers
are needed to build up an image, and the result is a rich and luminous surface
of many interacting hues. I finish my
egg tempera paintings with oil glazes.
When the work is nearly complete I apply several thin coats of oil paint
atop the tempera. These glazes saturate
and deepen the color and create a richer surface. In spite of the oil-like appearance, my
paintings are composed of nearly all egg tempera.
also work in silverpoint. The ubiquitous
pencil (a piece of graphite placed inside a tube of wood) wasn’t an option for
a Renaissance draftsman – it hadn’t been invented yet. Instead most early artists learned to draw
using a nib of silver stuck in a stylus.
Traditional gesso has sufficient tooth and a pleasingly smooth drawing
surface, and makes an ideal ground for silverpoint. The gesso is first toned with powdered
pigments and then applied to a panel.
The silverpoint line is delicate.
It cannot be erased. As with
tempera, it is generally built up in many, many carefully applied layers.
artwork gives me the opportunity to quietly observe nature. I place these observations in settings
inspired by the work of Northern and Italian Renaissance painters. I borrow liberally from the design of these
masters. However the central cast of
biblical characters is replaced by birds, bugs, frogs, terrapins, rabbits, or
any other “fellow mortal” who endears himself to me. Animals, particularly the quiet and
inconspicuous varieties, are among my favorite subjects. They are visually interesting and beautifully
patterned; mysterious and unknowable; of infinite value to humans and the world
at large. I enjoy placing them at center
often incorporate lettering into my work. Arrange letters into words and they
convey meaning. However letters are also
fundamentally visual. Like other artists
past and present I am drawn to them because of how they look: strong, straight
lines and expressive curves, arranged within the geometry of circles, squares,
and triangles. As did medieval
manuscript illuminators, I combine letters with the minutiae of nature. The critters and natural creations that adorn
our world serve a practical function, for which I am appreciative – but, as
with letters, I am equally drawn to them purely for their visual beauty. To me there is nothing as visually well
designed as the alphabet, as geometrically pure as a seashell, as visually
graceful as a flower, or as decorative as a spotted bunny.
I do figurative work as well. People do
not come naturally arrayed in the wonderful fur, feathers and patterns of the
animal kingdom, but the subtleties of flesh, facial expressions and gesturing
hands can be equally beautiful. As with
the animals, I place my human models in traditional settings. I chose such settings not out of an abstract
loyalty to the past, but simply out of love for the great beauty of old master
painting. My hope in all my artwork is
to convey not only something of the character of the subject, but also to
render a purely pleasing feast for the eyes.
Self Portrait and Michelangelo Quote
Vincit Amore (Cardinal Diptych)
Fra Angelico and Milton
Portrait of Ginny Faulkner
Girl with Blue Scarf
Gothic Creme d'Argent
The Smallest Part Triptych
Boy in Cap
Rock Dove and Arnold
English Rabbit and Keats
Flicker and Virgil
Brother and Sister II Diptych
2011 Koo Schadler Exhibitions
new work by Koo Schadler and Jacob Pfeiffer
6A at 28
reception August 6th
with Koo and Jacob in attendance
has recently joined:
her work continues to be represented by:
J. Cacciola Gallery
West 27th Street
York NY 10001
Koo Schadler Workshops
Egg Tempera I
A comprehensive workshop covering all aspects of egg
May 23-27, 2011. Jaycee Center for the Arts, Dallas, TX.
July 18 - 22,
2011. The Ellis School, Pittsburgh, PA.
Egg Tempera II
An opportunity for in-depth work in tempera. Open to all levels.
June 27 – July 1, 2011.
Collins Artworks Art Center, Clinton, MA.
The Still Life in Egg
Students spend five full days working on a still life in egg
Koo also will show how to photograph a still life. Open to all levels
April 22-26, 2011. Amelia Island Workshops, Fernandina Beach, FL
August 21-26, 2011. Hudson River Valley Workshop, Greenville, NY.
Master Design Workshop
Students learn the visual elements essential to great
painting. All levels.
June 20 – 25, 2011.
Collins Artworks Art Center, Clinton, MA.
Egg Tempera Painting in Venice, Italy
October 2 -12, 2011
For complete details
And in September of 2012….
Egg Tempera Painting and the Old Masters in England