In the late 19th and early 20th centuries, Munich was a centre of technical painting discussions between artists, paint manufacturers and chemists. The tempera painting, in particular, brought many artists to Munich because traditional oil paints no longer satisfied the requirements of spontaneous modern techniques for fast-drying paints with great luminosity. Both paint manufacturers and the artists themselves undertook various experiments and initially developed a number of their own tempera formulations, which were subsequently commercialised.

Tempera painting has always been an interesting topic. It is the subject of a project sponsored by the Deutsche Forschungsgemeinschaft entitled Von Böcklin bis Kandinsky - Maltechnische und analytische Forschungen zu komplexen Bindemittelmischungen in der Münchner Temperamalerei um 1900 (From Böcklin to Kandinsky – Painting techniques and analytical research on mixed binding media used in Munich tempera paintings around 1900). The research project will focus on parallel investigations of the technical aspects and analysis of paintings by selected artists who have carried out their own experiments, particularly in tempera painting, or who are known to have worked with early commercial tempera paints.