Foreword IntroductionPAPERSThe paragone between oil and tempera painting in the 19th and 20th centuries Matthias KrugerThe tempera revival 1800-1950: historical background, methods of investigation and the question of relevance Karoline BeltingerTempera: narratives on a technical term in art and conservation Eva Reinkowski-HafnerColour and form in highest perfection: teaching tempera in the early 20th century Kathrin KinseherPast, recent, and future developments in the analysis and interpretation of tempera-based systems Kristin deGhetaldiFlow behaviour and microstructure of complex, multiphase fluids Annika Hodapp, Patrick Dietemann and Norbert WillenbacherAnalysis and interpretation of binding media from tempera paintings Patrick Dietemann, Wibke Neugebauer, Cedric Beil, Irene Fiedler and Ursula BaumerTowards historical accuracy in the production of historic recipe reconstructions Leslie CarlyleThe exception to the rule: reconstructing Richard Wurm''s Temperafarbe Wibke Neugebauer, Ursula Baumer and Patrick DietemannTempera painting in Veneto at the beginning of the 20th century Teresa Perusini, Giuseppina Perusini, Francesca C. Izzo and Giovanni Soccol''I explored every means of painting back then, notably every tempera'': Hermann Prell''s research on tempera Silke Beisiegel''If there is no struggle there is no victory'': Christiana Herringham and the British tempera revival Michaela JonesJoseph Southall and the tempera revival George BreezeThe spiritual from the material: exploring the tempera recipes of African-American artist Henry Ossawa Tanner in his later visionary paintings Brian Baade, Amber Kerr, Kristin deGhetaldi and Chris Petersen''Then egg, then watercolour or tempera paints, then alcohol resin'': Paul Klee''s tempera painting techniques Patrizia Zeppetella, Stefan Zumbuhl and Nathalie BaschlinTempera and pastels: the colour effects created in Paul Klee''s later work Nathalie Baschlin and Stefan ZumbuhlEdward Steichen''s last temperas Abbie SpraguePOSTERSStudies on the consolidation treatment of a collection of 19th-century tuchlein from the Palau Ducal of Gandia, Valencia, Spain Esther Aznar Franco, Susana Martin Rey and Maria Castell AgustiTempera techniques used by Czech landscape painters at the end of the 19th century Hana Bilavcikova, Vaclava Antuskova, Radka sefcu, Vaclav Pitthard and Lenka ZamrazilovaHiding in plain sight? Tempera-based British paintings at Tate, London Joyce H. TownsendLove and the Maiden by John Roddam Spencer Stanhope: assumptions and the importance of analysis Elise Effmann CliffordFrances Hodgkins: tempera painting and experimentation in St Ives, Cornwall Sarah Hillary and Martin MiddleditchEverything old is new again: investigating a modern tempera fake of a medieval panel painting Glennis Elizabeth Rayermann, Anna Stein and Gregory Dale SmithFormation of efflorescence and soaps in a group of 31-year-old tempera paints: a baseline for comparison Stephanie Barnes and Jia-sun TsangWORKSHOP SUMMARIESTempera: painting with egg and oil (part 1). Recipes, handling properties and painterly qualities (part 2) Lisa Afken and Reni MothesMaking paints with egg, oil and pigments: possibilities, physicochemical properties and distribution of the phases Patrick Dietemann, Ursula Baumer, Wibke Neugebaur and Ulricke FischerTempera versus oil paint Ulrich Zwerenz and Johanna ThierseCombining fresco and tempera Stefanie Correll, Stefan George, Klaus Hafner, Jessica Kallage-Gotze and Eva Reinkowski- HafnerSyntonos paint: an early commercial tempera paint. Its properties and applications Catharina BlansdorfCase studies of tempera painting in Munich c.1900 Luise SandExploring the working methods of Henry Ossawa Tanner and other selected early 20th-century emulsion recipes Brian BaadeErnst Berger #temperaemulsions: tempera networks in Munich c.1900 Kathrin KinseherMax Doerner''s tempera painting techniques Elisabeth Fugmann, Iris Masson and Valerie MullerKurt Wehlte''s tempera recipes on different ground layers Ivo Mohrmann and Monika Kammer.