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Culture Documents
Art, School of
1969
Recommended Citation
Handlong '69, R. Bruce, "Dictionary of Artists' Oil Pigments: Their Chemical and Physical Properties" (1969). Honors
Projects. Paper 2.
http://digitalcommons.iwu.edu/art_honproj/2
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"
by
RQ Bruce Handlong
1969
mInols Wesleyan Un:lv Librade1l
Bloomington,_ Ill.. 617.01
ARCHIVES
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1-1 ;( ,310 d.
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PREFACE
This work is primarily intended as a reference
for the artist w ho seeks to know more about the chemical and physical properties of oil pigments that he has
at his disposal.
ties,
also,
Ostwald,
or Young-Helmhotz.
Al l the color
an index is appended.
German.
Hess,
chemistry,
1 96 9
R . B.
Handlong
TABLE OF C OITTE1JTS
PREFACE
INTRODUCTIon
SOURCES OF PIGI,lENTS
PAST
TI1E
rt
iii
1
1
;;
14
17
Th e ir Chemic al and Phys ical Prop erti e s , C o mpos i t ion, Synon;lms , Characteri s t ic Distingui shing 'Ile s ts , Hist ory and Source .
INDEX
iv
84
86
INTRODUCTION
It has frequently been observed that while Hubert
and Jan Van Eyck,
DU rer,
da Vinci,
Seurat,
form,
a dictionary of artistst
in essentially usable
oil pigments,
to be used as
SOURCES OF PIGffiNTS
Pigments are the coloring matter needed for paints.
They must be substances which can be powderized so that
2
they can be mixed with a liquefied binder.
sources of pigments are:
and inorganic.
colors,
natural,
The four
artificial,
organic,
organic colors,
them when "earth" was believed to be one of the four elements constituting the earth.
were air,
fie,
and water.
to,red
but many
and zinc..
3
parent t'Jhite (aluminum hydroxide), vJhi te Lead (lead car
bonate),
mercury,
respectively:
and Zinc
cadmium,
and strontium.
chromium,
copper,
and Strontium
ully processed.
The organic colors are made rom animal and vege
table matter.
the past.
an impure magnesium
It
The ood
4
ment is two- fold.
First,
Normally,
of urine pro
Secondly,
3/4
of a gallon
reliable.
cer-
violet,
however,
Reliability,
If truly
2
F "VI!. t'leber, ARTISTSI PIGI1ENTS: THE IR CHErUCA L AND
PHYSICAL PROPE RTIE S, (New York:
D. Van Nostrand Company,
1923)" p. 67.
it is
other art
artists
materials or
1 519)
worked with a
white,
yellow,
green,
blue,
red,
from
darkness.
and black,
.,
p.
80.
From a specific
6
tain painting must have been painted.
also,
The paintings,
as a result,
in fine condition.
By the middle of the nineteenth century,
most
to "bourgeois" clients.
The days of
no space,
no patience,
and
now,
employed
permanence,
Colors
and mixa
to produce paints.
drying ones,
7
be observed by viewing any one or Albert
paintings.
P.
Ryder's
manuract urers
trade.
They first
And,
secondly,
they introduced in
The
warm black.
Unfortunately,
After a while,
of a painting.
asphalt
it could float on
everything dark.
Many paintings,
Asphalt
executed before
have turned almost
5
. ,
p.
76.
real ized that this haphaz ard limy of produc ing paints
could no t c ont inue .
It is
A.
c(.
9
Nitric Acid
Ammonium Hydroxide
Sodium Hydroxid e in 1ater Solution
L ime 1.Jater
P otassium Ferrocyanide in Water Solution
7
Ferric Chloride in Water Solution
Barium Chloride in Water Solution
Silver Nitrate in Water Solution
Red and blue litmus paper
About six test tubes with small glass funnel
Filter Papers
The technique employed in testing a color is as
follows:
It is neces
about a thimbleful,
then filter.
p.
11.
10
It
8
will r e main colored even after reil tering s everal time s .
First , t he che mical compo s it ion of the pigment
rs t b e determine d in order to urt her tes t it s purity
and propertie s as a durabl e c olo r .
I the name of t he
11
ample, assume that we have four blue pigments, which
optically resemble eac h other very closely, and it is
desired to know which of the four are desirable as
durable pigments and of what they are composed.
Primarily, we are concerned with the composi
tion of the four pigments.
mine these factors first.
It is necessary to deter
After this is known, it is
These
Detection :
Up on comparing
12
that upon the addition of a drop of dilute hydrochloric
acid to each of the samples, only Ultramarine will be
reacted upon by the acid for Cobalt Blue and Pruss ian
Blue are insoluble in dilute ac ids.
The Ultramarine
The Cobalt
from the sample pigment with the tint of the known stan
I
dard. O
13
Bu t if the artist does not want to employ this
type of testing, he may simply use the heating test.
It is practical and dependable.
l
ments leave a colorless residue. l
run
14
layer put on white paper whi ch wil l no t turn yel low;
haIr of the paper i s then covered up , perhaps by being plac e d in a book.
in
Pigment s which
are not oilproor " s trike though, " they Itblee d , " that i s
to s ay , they p enetrate through superimposed coa t s and
come to the surrac e .
Newly deve l oped p igments should be re c eived with
caut ion, no ma t t er how t empt ing the ir color app e ars .
orten enough dere c ts become apparent whi ch were not at
rirs t evident , such as i t s s ens itivene s s to l ight and/
or lack or s tabili ty in oil . 1 3
LIST
OF
COLORS
To Adolr Wilhelm Kelia and the Deutshce Ge s ells chart zur Forderung ratione ller Halverrahren rounded
by him at 1ich, we are indebted ror our bas ic i de as
in the r i eld or col orQ
1 3Doerner ,
THE MATERlliLS
OF
THE ARTIST ,
p . 49 .
in 1 886 .1 4
1 .5
ing c o l ors :
1.
Cremnitz whi te .
2.
Z inc white .
3.
4.
Indian yellow
.5 .
6.
s ienna .
7.
R e d o cher .
8.
9.
Graphite .
10.
fJIadder lake .
11.
Vermi l ion.
12.
Umber .
13.
C obalt blue .
1 .5 .
Paris blue .
1 6.
1 7.
Green earth .
1 8.
Ivory blac k .
1 9.
Vine b lack .
16
mix any pos s ib l e color and shade except spec ial chemical
S'
color s . 1
The cause of
in Old English.
Its
17
at a d i s t ance of from one to t en yards , during midday, in mi dsumm e r , on a day with no wind , away from
overshadowing tre e s , and with a low background , that
is , no t shut in by close , high tree s in the direc t ion
of s ight ( which could darken the color ) ; the charac
ter of light to be diffuse , wi ther an overcast but
not heavily clouded day, or in such shadow as doe s
not in any way alter the normal condi t ions out l ine d
above . 16
Conditions , such as the s e , can not always be
s e t up to exempl ify what is meant by an ambiguous
color t erm .
It is
PIGMENTS
The name s appearing here are those of permanent
oil pigment s .
The syno
AL IZARIN LAKES
Al i z . Blue ; Ali z . C armine ; Al i z . Cr imson ;
A l i z . Green ; A l i z . Orange ; Aliz . S c arlet ;
Aliz . Ye llow; Rose Madder Al i z . ; Al i z .
Madder Lake ; Al i z . Burnt Carmine ; Indian
Lake Al i z . ; Permanent Violet ; Pe rmanent
Crimson; A l i z . Sap Green ; Aliz . O l ive
Gr e en ; Al i z . O l ive Lake ; Al i z . C r ap Lake s ;
Scarle t Crap Lake ; Viol e t C arp Lake ; Laque
dfalizarine carmios i e ; Lacc a d1alizarina
cremis ina ; Lac a de garanza cramois ;
Alizarin Farben
19
principle .
p.
76 .
20
of the dye - s tuff ( o rang e-yellow in color if Alizarin
and bright re d if Purpurin ) , leav ing the supernat ant
liquid prac t i c ally cOlorles s .
l2 Ibi d . ,
p. 17 .
21
Madder Lake yie lds t ints of highe s t color value and de
pendable permanenc e and durab ility _
ANTWERP BLUE
Bleu mineral , Bl eu dfAnvers a , A zul de
Amber e s , Antwerpener Blau
Antwerp Blue i s a product o f iron and zinc cy
anog en compounds and yie lds a c ol o r paler than Prus
s ian Blue .
Blue .
AUREOLIN
C obal t Y ellovJ , Jaune Indian Aureol in,
Aureol ina , Kobal tgelb
It is a yel l ow c rystall ine compound s alt of the
metal C ob alt .
If it i s no t properly
22
It i s very fas t to air and l ight , and i s unaffe c t ed by
sulphuretted hydrogen, H 2S , although i t is b lackened by
sodium sulphide and/or c aus t ic soda .
mineral pigments Aureolin when in admixtures wi th certain org anic p igments , such as lake s from co chineal , indigo , e tc . , cause s decompos i t ion of the s e ; the organic
colors b e come altered in hue as al s o Aureolin i t s elf b e come s a browni sh hue .
C o balt YellO'tv is c onverted into black cobalt
oxide by gently heating in a bunsen flame .
L ike all
AZURE
Sky Blue , Bleu dlA zur , A zul C eles t e ,
25
Azurblau , Caeruleus
The t erm AZURE i s derive d through the Romanc e
l anguages and medieval L a t in ( l azur ius , l a zulus , azura)',
from Arab ic al- lazward, and Persian ljward, the preci
ous b lue rock or s t one , l ap i s lazul i ( medieval L a t in,
"blue s tone" ) , from which genuine ultramarine i s made .
2h1-b'd
, p . 22
23
he term AZURE is , als o , a synonym for blue .
been a literary term.
Azure has
in
liThe
Brook," had "her eye s a bashful a zure, " and Shake speare
in "The Tempe s t, " wrote "Twixt the green s e a and the
azur ' d Vault . "
attached, for sales purposes t o e very kind of blue pigment in exi s t ence , but this prac t is e has di e d out .
Be c aus e of the very fre quent app l icat ion of the
term, in literature and poetry , to indicat e the s ky or
its color , A zure ha s b e c ome s ynonymous with "Sky Blue . 1l26
2
Thee-term "Sky Blue" fir s t app eare d in 1 7 28 . 7
Azure i s a mixed pigment c ons ist ing princ ipally
of Ultramarine Blue and Z inc Oxide or Permalba .
It
Bi'1.RIUM YELLOlrJ
Permanent Yel low, Barytgelb, j aune
d t outremer , Ye llow Ultramarine
Ib d. ,
p . 149 .
Ib ld . , p . 181 .
28 Weber, ART I STS ' P IGMENTS , p . 2 3 .
In app e ar-
( This i s a
BLUE- BLACK
Charcoal Blac k, Vine Bl ack, Frankfort
Black, No ir de Vigne , Rebens chwarz ,
Drop Black, Noire bleuatre , Nero
bleus tro , Negro azulado ,
Fran1r..furter S ch1-Tar z
The ac t ive c olor ing pr inc iple is Carbon, in the
form of charcoal .
By dry or de s tru c t ive dis t illation of grap e hus ks ,
vine twigs , v ine wood and other s imilar mat erials , various quali t ie s of Blue-Black are obtaine d .
The fine s t is
Blue-
26
oxide--c r 20 , Aluminum oxide --A1 2 0 , and Cobaltous
3
3
Oxide--CoO . The greater amount of Chromic O xide
pres ent will produ c e a more greeni sh hue .
If a
CADHIUIvl YELLOVJ
Cadmium Yellow Lemon or C i tron, Light ,
Hediv.1U and Dee p , C admium Orange ,
Aurora Yellmv , Ori ent Ye llow , Daffodil ,
3 2 Ibi d . , p . 98 .
3;3Doerner , r1ATERIALS OF THE ARTIST , p . 84.
34\ie b er, ARTISTS ' P IGHENTS , p . 25 .
27
Sulphide o C ailiuium, Jaune de C adium,
Giallo di cadmio , Amarillo de c amio ,
Kadmiurngelb
All hue s are o the one compound of C admium
5
and Sulphur , namely Cadmium SulPhide--C ds . 3
The pigments Cadmium Ye llow medium, deep
and orange c ons ist only of the Sulphide o C admium
and are the mo s t permanent of the Cadmium Ye llows .
The lemon or c itron and l ight t int s o C admium Yel low
are usually no t the pure s ulph i de , but the s ame in
comb ination wi th flowers of sulphur , zinc or white
p igments , and are invari ably not quite a s permanent
as the medium or deeper hues.
1e me tal Cadmium was d i s c o vered by S tromeyer
in 181 7 and ab out 1846 the sulphide o C admium became recognize d as a us e ful pigment .
By inje c t ing a s tream of hydrogen sulphide gas
It is e s -
28
crucib l e '[,Jith pure Sulphur in exc e s s , an exce s s of
Sulphur is l ikely to o c cur .
It i s ne cessary that
all the chemical s use d in making the pigment be abs o lut ely chemi cally pure , as trace s o f iron, l e a d , bis routh, copper or any other metal , giving a colored sulphide , would mat erially al ter the hue and bril l iancy
of the des ired c olor .
The wet process i s in favor indus tr ially in the
manufac ture of C afuaium Yellows .
36 I b i d . , p . 2 9 .
37Doerner , ITERIALS OF THE ARTIST , p . 65 .
29
it turns red ; upon cool ing i t re turns to yello't-l .
He ated Oadmium Leomon turned orange wi thin a year .
ca dmium Yell o1-l is not c ompat ibl e with c opp er col ors
such as Emerald Gr een; in mixture with the s e it turns
38
permanent ly black.
C admium Ye llow i s perfectly s afe
in admixture
ltd th
Whi t e Lead .
It is perfectly permanent to
3 Ib i d . , p . 65 .
3 t'leber , ARTISTS ' P IGNENTS , p. 30 .
30
Cadmium Red dis s olves to a c olorles s solut ion
in c oncentrat ed hydro chloric acid 't-Jith the evolut ion
of hydrog en sulphide and hydrogen selenide .
Adul t era
CARBON BLACK
Gas Black , Ga s Soot , Ve lvet Black
No ir de charbon " Nero C arbon, Negro de carbon ,
Kohlens chwarz
It cons is t s chemically of the element C arbon.
Carbon Black is in all phy s ical resp e c t s s imi
lar to Lamp Black but i s more int ens e ly black in color .
Although not crys talline in s truc ture , it has the appearanc e of such , being granular in form.
In the manufacture o f it , Carbon Black differs
from the true Lamp Blac ks , which are obtained from the
c ombus t ion of oil s , by being made from the c ombustion
of gas .
by iron plat e s on 'tJhich the s oot or carbon black bec ome s dep o s i t e d and is c olle c ted.
31
Carbon Black is the pur e s t form o f the Carb on
Blac ks , e . g . I vory Blac k , Lamp Bla cks , and Charcoal
Blac ks , and l i ke the s e r e s is t s ac i ds and bas e s , is
abs olutely permanent and adaptable to all t e chni que s . 4l
Only at exc eedinly high t emperature s the carbon unit e s
with oxygen in the a ir, yields the gas , c arb on dioxide ,
and leaves no ash re s idue .
CERULEAN BLUE
Coeruleum, Bleu c e le ste , C o e rulium,
Coel inb l au, Blue c eruleum,
Azul c e leste
I t cons i s t s of a c ompound of Cobaltou s Oxide-CoO- -and Tin Oxide - -Sn0 2
Thi s l ight greeni sh-blue pigment is p ermanent ,
almo s t opaque , and adaptabl e to all te chnique s .
It is
32
t i on o f Cobalt Chloride--C oC1 2 --vdth potas s ium s tannat e , thoroughly washing the pre c ip i tate and them
mixing it wi th pure s il ic a and heat ing .
Another method
It i s practi cally un
44
affect e d by weak ac i ds and alkalies .
It 11'JaS introduced a s a p igrl1ent in 1859 . 45
CHRO:ME GREEN
Chrome Green l ight , me dium, and deep ,
Z innober Gr een, C innabar Green,
Z inc Gr een , Green Vermilion ,
C i nabro Verde , C inabre vert ,
C inabrio verde
Chrome Gr e en is a mixture of Prus s ian Blue and
Chrome Ye l l ow pigments .
43 I b ide , p . 3 5 .
44Y5Id ., p . 36 .
45Maerz and Paul , DICT IONARY OF COLOR , p . 181 .
33
hue obtained 'tvill range from pale yellm-J-green to deep
blue-green.
These Chrome Greens should not be confused with
Chromium Greens, namely the transparent hydrated Oxide
of Chromium ( Emeraude Green) or opaque Oxide of Chro
mium. 46
Alka-
Sulphurous gases
of
Chrome Re d is a good
the size of the grain
ft6 \ve e r,
It
34
should be 't;J'orked only with the spatula and jus t before
49
being use d .
CHROME YELLOW
Chrome Yellow l i ght , medium, and dee p ,
Chrome Lemon , Chrome Orang e ,
Chrome Re d , Par i s Ye llow,
Kings Yellow, Jaune de Chrome ,
Giallo d i cromo , Amarillo de cromo ,
Chromgelb
The pure r i ch chrome yellow hue i s Neutral
Lead Chromate--PbCro4 ; the paler tint s and lemon or
c itron chromes are mixtures of Lead Chromate and Lead
Sulphat e ; the orange hues are Bas ic L e ad Chromate-Pbcro PbO .
4
The Chrome Ye l lm-Js ( neutral l e ad chromat e ) are
all obt aine d as prec ipitate s by the addit ion of a s o
lution of a solub l e l ead salt to a solut ion of a s o luble
chromat e or bichromat e .
35
A little bit o f it
It mu s t b e
p.
63 .
36
When mixed with pigment s of organic or igin ,
espec ially tho s e which thems e lves are prone t o oxi
dize , Chrome Ye llow has a tendency to undergo reduc
tion:
2HC l
--
H 2cr04
PbC1 2
Chrome
Chromic
L e ad Chlor
Ye llow
Ac id in
ide
So lution
The diluted solution of reddish-yel l ow Chromi c
Ac i d , if alc ohol be added, will turn green in co lor
upon warming , and produce an agreeable aldehyde o dor:
the smell of apple s .
Am
37
metallic lead.53
a reddish-brown.
low.54
Variable
By heating at high
It is light
56Ibid., p. 46 .
57Doerner, }TERIALS OF THE ARTIST, p. 80.
58rvlaerz and Paul, DICTIONARY OF COLOR, p. 193.
39
It is a compound of Cobaltous Oxide--CoO, and
Zinc Oxide--Zn O.
It is formed when Cobalt Oxide and Zinc Oxide
are heated at high temperatures.
eratures .5 9
Cobalt
61tJeber,
de
Cobalt,
1859 by Salvetat.62
CYAlilEOUS
Cyanine, Leitch1s Blue
The term CYANEOUS is derived from ancient Greek,
CYANOS.
Blu e .
Thi s semi-transparent c olor is prac tically
permanent.
DELFT BL UE
The name is due to the fac t that the potters
i n the city of Delft, Holland, about the beginning of
the ei ghteenth c entury, fi rst suc c eeded i n imi tating
this parti cular c olor, found i n chinaware imported
from C hina.
It is permanent. 66
42
EMERALD GREEN
Paris Green, Vert Paul Veronese,
Sc hweinfurt Green, Mitis Green,
Veronese Green, Cenere verde,
Vert c endre, Verde c eniz a,
Mineral Green, Swedish Green,
6
Smarag d J.nus 8
W.
Satt
pigments.
lowish green.
6 7Ibid. , p .5 3 .
68Ma"e'rz and Paul, DICTIONARY OF aOLOR, p. 19.
6 9ljleber, A RTISTS ' PIGl''IENTS, p .53 .
L 3
in preparation as an oi l pi gment.
It dries well . 70
I t should
1
black copper sulphi de.7
Th i s is a c harac teris-
and
violet,
Ferric
It is com
denses o n the coo ler Hall o f the test tube, sho uld no t
73Ibid. , p. 64.
74Ib id., p. 6 5.
45
It is insoluble
in
Indian
46
Indischgelb
Indian Yellow is a natural organic lake.
It is
This
It
For
This
47
colored impurity and odor are lost.
It is the n dried,
ne ash
173 5. 7 9
LAl1P BLACK
Noir de bougie, Ne ro fume,
Ne gro de humo, Lampensch-vlarz,
Vege table Black
It is a flocculent b lack form of commercially
pure Carbon--C.
Lamp Black is a fine flocculent ki nd of soot
ob taine d from -vrick lamps in 'tihich oils ri ch in carb on
are burnt vTith insuffi ci e nt ai r for complete combustion.
The soot, wich is de posited on plates "'he ld into the flame,
77We ber, ARTISTS ' PIGME NTS , p. 6 7 .
78Doerner, J.'.'f.ATERIALS OF THE ARTIST, p. 66.
79Naerz and Paul, DICTIONARY OF C OLOR, p. 1 9 7.
48
is ocl lect ed and is ready for cOlumercial use.
The
Verde Azuro82
years.
Traces
Egypt. 83
1OvJeber,
49
It is c omposed of Basic Copper Carbonate-
CUC0 e CU ( OH) .
2
3
50
It i s a doubl e salt o f Phosphuric Acid with
Iclanganese and .Ammonium.
Its violet hue is more true than the reddish
Cobalt Violet .
The three principal permanent viol et pigments
are :
Ul tramarine.
To obtain the pigment Manganese Violet, mel t
Manganese Dioxide and Ammonium Phosphate together.
The Ammonia will evolve and yield a fused mass of vio
let co l or, which is digested 'trJ'i th Phosphoric A cid and
heated until a rich violet hue is produced.
After
safe.8 6
A test for this pig ment is made by melting a sampIe of the color in questio n w ith soda on a porcel ain
dish, or a platinum wire .
It is sol uble
After stand-
ing for some time this bright green color wil l change to
a viol et color.
in 187 3. 88
I1ARS COLORS
Mar s BrO"t.J'n, Mars Or ange,
Mars Red, Mars Viol et,
Mars Yellow
They are ar tii c i al ochres .
Their color is
yi elds depending upon durati on and degree o heat un der which the proces s i s bei ng carried on, dierent
hues are obtained :
l et.
They are no mor e permanent or brill iant than the
Maerz
18 3 5. 9
N APLES YELL OW
Jaune de Naples, Jaune d l Antimoine,
Giallo di Napoli, Amarillo de Napoles,
Neapelgelb
Naples Yel low consists mainly of L ead Antimoni
ate--PbSb 0
2 6
It was used as an enamel and on decorated pot
tery.
It
It is ad
Alka-
li es decompos e i t.
53
The admix-
es t pigments known.
The word Ochre i s a generi c term, and in cons equence, many defini ng adj ecti ves have been prefixed to
it in order to identify certain d i s tinctive grades ,
us ually a c cording to variation in color .
92Weber, ARTISTS . PIGMENTS, p. 91.
54
early days, the word OCHRE was sometimes used alone,
but was practically always intended to refer to the
These
55
or clay and bituminous organic matter are opaque,
dull and or weak c olor.
It is nec essary to thoroughly wash and levigate natural oc hres berore their use as artist pig
ments thereby washing the c olor rree or sand and any
soluble salts, whic h would otherwise be or considerable detriment, arrec ting their durability as pigments.
tfuen pure, all ochres rank high with the most
durable and permanent pigments.
Hydroc hloric ac id dissolves the iron rrom
oc hres yielding a yellow solution ( iron c hloride) , the
remaining undissolved sediment is c omposed or c lay and
in
in boiling water.
Mixtures or the natural ochres with organic
pigments and lake c olors are best regarded as or unc ertain stability, the iron hydroxides have a tendenc y to
reduc e the se colors.
The Yellow and Brown Oc hres appear under the rol94tveber, ARTISTS' PIGME NTS , p . 93.
56
lowing names :
The most
durable and permanent pigments are obtained by thorough vlashing and leviga tion of the minerals.
To these colors belong the genuine Indian Red,
Ve netian Red, Terra Poz zuoli, Terra Ros a, Red Chalk,
Bole, Ruddle, Red Iron Ore, Red H aematite, and Bolus.
Sinopis and Rubica were red ochres that were used in
ancient times o
CA LCINED OR BURNT OCHRES
vfnen natural ochres are roasted, the iron hydroxides lose their water content and are converted into
57
The c al-
N.
Guignet,
97Ibi d. , p. 96 .
DOerner, KTERIALS OF THE ARTIST , p. 84 .
I-Jeber, ARTISTS ' PIGMENTS, p e 97 .
59
whose method is still in use today.
This pigment is produced by thoroughly mixing
and calcining eight parts of boracic acid with three
parts potassium bichromate, treating the resultant
fused mass of green color with cold water, washing it
by decantation, grinding the wet decantant, washing
it with hot water to free any soluble salts ( potas
sium borate) and then carefully drying it.
Oxide of Chromium, Transparent is the one of
the most desirable and valuable pigments :
excellent
It is non- poisonous.
lOl
aration as an oil.
PERI"lALBA
l OOIb l O . , p. 98
101noer ner, YTERIALS OF THE ARTIST, p . 8 .
4
60
Permalba is a true composite pigment consisting
essentially of a compound of Barium Sulphate.
Permalba is an artists 1 Permanent \\1hite introduced by F . W. Weber Company of Philadelphia, Pennsylvania.
It is absolutely permanent to light; is unaffected upon exposure to impure air, dampness, and
gases; is most opque white pigment with the greatest
tinting strength; will not discolor with age; is chemi
cally stable and inert towards other pigments; is not
acted upon or does not react with any vehicles or me
diums used in painting; does not contain lead or z inc;
is non-toxid; is acid and alkali resistant; is not discolored by sulphur gases or compunds; yields tints of
exceptional brilliancy; has tvue color value when mixed
with any color ; withstands high baking temperatures
wi thout discoloration; photographs white; and is not
acted upon or altered by actinic light rays.
Permalba, when ground in pure oil, yields upon
oxidation ( drying ) , an elastic film which has no tend
l
ency to crack, to become horny, or to become brittle. 02
PRUSSIAN BLUE
Bleu de Prusse, Bleu di Prussia,
10Jeber, ARTISTS' PIGMENTS, p. 9 .
9
61
A z ul de Prusia, Preussischbl au,
Paris Blue, Chinese Bleu, Milori Blue,
Bronze Bl ue, Steel Blue, Mineral Blue,
American Blue, 103
It was first
10 7
iglIbid. , p. 100.
Maerz and Paul ,
lO Ibid. , p. 1 7 .
5
ig 71I1Te'ber, ARTISTS
I PIG!1ENTS , p. 100.
Maerz and Paul, DICTION A RY OF COLOR, p. 1 75.
62
as a deep blue insoluble precipitate.
If during precipitation the potassium ferrocyanide is kept in excess, a deep blue precipitate is
formed which is soluble in water.
This compound is
It is
By treating the in
soluble Prussian Blue with Glauber Salt ( Sodium Sulphate) and Oxalic Acid, a soluble Prussian Blue i s
obtained.
Ferrous salts,' e. g. Iron Vitriol--F errous Sulphate-''1 and Yellow Prussiate of Potash form a vJhi te
' 10
preclpl t ae 8
w.
( Copperas) this method is usually employed for commercial manufacture of Prussian Blue .
Chalk, Gypsum, Clay, and Starch are often added
to Prussian Blue as adulterants and to lighten the col
10
or and VJe aken its tinting strength. 9
Antwerp Blue
11
63
slightly when put into the sun but regains its c olor
when restored to the dark, and is sensitive to alka-
III
1 1.es.
L ike asphal-
Th 1.' S
_
preparation. 113
\veak
Solutions of Red
1ILL'
ii
64
RED LEAD
Hinium, Orang e Mineral ,
Saturn Re d , Paris Red,
Ros s o di Saturno ,
1I.
l'Lno
, Mlennge , 11.5
.
IV!lna
tus ,
116
Bl e imennige l 1 7
It cons is ts of a bright red Oxide o f Le ad--
Th e finest
Pb 3 04- - 2Pb O
Pb0 2
Th is r eaction
ii
65
Su lphide , is attac ked by hydrochloric acid , but i s
indifferent to alkal ie s .
al cohol .
c o al-tar dye .
OH-
Thi s
in
This rea c t ion yiel ding the dark brown peroxide d i s t ingu ishes Re d Lead from p igment s of a s imilar color, e . g .
Ve rmilion, Chrome Re d, and C admium Red .
R e d L e ad was
knmm
66
1
as 1'liniutr'l, the Latin i'o r Vermilio n. 22
SIENNAS, NATURAL AND CALCINED
The term SIE}mA is derived from the Italian
town of Siena .
a c o lor .
spe11 lng
.123
'
It is transparent
Terr e de Si
p. 10I:' .
p. 103 .
ARTIST, p. 69 .
p . 103.
67
t ion into red iron oxide , Fe 20 , changing the trans lu3
c ency and deepening the hue of the pigment .
It is an
This may
Te rre S i en-
TERRE VERDE
Gr een Earth, Terre de Verone ,
Verone s e Green, Verone s e Earth ,
Terre vert e , T ierra verde ,
Gruenerde
l 2 8t'lebe r , ARTISTS I PIGl"IB.1:JTS , p . 2 7 .
l 2 9Doerner , }1ATERIALS OF THE ART IST , p . 7 1 .
l 3 \'lebe r , ARTIsrrs t P IGNENTS , p . 2 7 .
1 3 Fabr i , C OLOR , p . 1 0 3 .
68
As its name " GREEN Ef-;.RTH , s ignifies , it is a
sub s t anc e that is found in nate , a c lay co lore d with
green hydrated oxide of iron .
earth .
It i s ready for us e .
It does
I t is p er-
69
It can be det ected by the addition of hydro chlori c
l34
aci d . Hydrog en Sulphide i s forme d .
ULTRA}RINE BLUE
Lap i s Lazu l i Blue , Bl eu d lAzur ,
outremer , Oltremear e ,
Ultramar , Lasur s t e in, Ul tramarine Ash ,
C endre d ' outremer , C enere d 1 oltremare ,
C eniza de ultrarcar
'l"'he s tone Lap i s Lazuli from 't'Jhich the genuine
Ultramarine is obtaine d, was kno't to Romans and Gr ec ians , as SAPHIR ( SAPPHIRE ) but ment ion o f it s use as
a color source for the pigment , ultramarine , dates
b etwe en the thirteenth and fourteenth centuri e s .
The
The
70
The metho d of extrac t ing the blue color from
the s t one cons is t s in sele c t ing the pure s t pie c e s ,
which afte r having b e en finely ground , l evigat ed,
and washed , are knea ded together
dough with a lit tle
WaIt,
in
the form o f a
The fine s t
The dough re
tains the foreign mineral subs tances . 135
The second and cons e cut ive extrac t s from the
same dough become more gray in color .
The s e
It is
ihen
71
1 6
evolut ion of Hydrogen Sulphide . 3
re adily des troye d by heat .
Ammonium
It re quire 80% o il .
72
hlhen Umbers are t:!:" e a ted "V-T i th alkal i e s , they
di s col or a l ittle and when heate d they bec ome a red
di sh bro-vm.
IhO
'
Terr e d '
VERHILION
Engl ish Vermil ion, French Vermilion,
Chinese Vermilion , Orange Vermil ion,
S c arlet Vermil ion, C innabar ,
14?no erner , MATERIALS OF THE ARTIST , p . 87.
vebe r , ART ISTS t PIGHENTS , p . 28 .
I b id . , P . 1 04 .
143Jbid . , p . 28 .
73
Quicks ilver Vermi l ion , Sinopis ,
Vermiglione , Ve rmellon,
Z innober
All hue s are pure He rcuric Sulphide - -HgS .
I t is found in the mineral C innabar ( a mercury
blend ) in Spa in, China , Japan, Mexico , Peru , Ge rmany ,
Aus tria and C alifornia .
It is manufac
It is then
tre ated with hot alkaline s olutions , in order t o remove any free sulphur , washed, and ar e ready for use .
Brighter and purer colors are obt aine d 'tvhen the pigment
is 1vashed than 1'ITh en it i s not .
In Ho lland of
74
In 168 7 , G . Schulz e publ ishe d the firs t proc e s s
f o r preparing Vermili on by the l,ie t T(lethod .
In the "Het metho d , the quicks ilver and sulphur
are ground toge ther in the pre s ence of wat er .
After
It
If
un
I t is opaque
75
Pure Vermilions are insoluble in wa ter , a1coho1 , alkal ies , and in di lute a c ids .
do e s not rea c t with Ve rmil ion.
Ni tric acid
A s o1ution of so-
Dy es can be de-
If it is
The s olu
I t was used by
itt* Ibi d ,
p . 11 9 .
Ib id- , p . 120 0
1 48Maerz and
Paul , DICT IONARY OF COLOR , p . 154 .
149 {eber , ART ISTS ' PIGMENTS , p . 1 20 0
76
'.'JEITE LEAD
C remnit z tm ite , Flake 'ttJhite , Le ad 1tJhi t e ,
S i l ver whlte , Dutch \mi t e Lead ,
Blanc d 'Argent , Blanc de Pl omb ,
Bianc o di p ilmo b o , Bl anc o de pl omo
( albayalde ) ,
B l e iwe is s , Ceru s s a Al ba,
C e ruse , I\:rems er lV'e i s s ,
Blanco de Cremnit z
It i s c omposed ob Bas ic Lead carbonate - - 2PbC 0 _
3
Pb ( OH ) 2 Vhit e Lead lIas Imovffi to the ancien t s by the
name of CERUSSE .
gar _
To day the
77
evaporat ing the ac e t ic ac id and forming Lead A c etate
( Sugar of Lead ) on the surfac e of the l ead.
The Lead
If ac i d come s
l O Ibid . , p . 2 .
1 1
l lnoern er MATERIALS
OF Trm ART IST, p . 5 1 .
78
or chemical s ar e neede d . 152
A good variety of mite Lead shoul d be cOMpo s ed
of 70% carbonate of l e ad and 3 0% of lead hydroxide .
Varying per centages of lead carbonate and hydroxide
affec t opac ity , cons i s t ency and durability .
tmit e Le ad is one of the mos t opaque white p ig
ment s and is e qualed only by Permalb a .
I t is s ens i -
It is perma-
p.
53 .
79
k1'1O"tm
as Ninium--Pb 3 04
'I,m en
C austic soda
'tnrilth
Hydrogen peroxide--H 0 2
2
A
80
'/
acid 'Vdthout eff erve s c ence . F6
of s.ilver nitrat e forms a i'lhit e floc culent pre c ipi tate . l ,57
Z INC irJI-IITE
Zinc Oxide , Chine s e l'llii t e , Fr ench Z inc ,
Blanc de Z inc , SnO't'v 'iJhi t e ,
Bianco d e Zinco, Blanc o de Z inc ,
Zinla-le i s s
Z inc Nhite is c omposed o f Z inc oxi de--Zn O .
l,5 8
in
1 743 .
Shortly
81
The coercial production of Ainc Ox ide as a
pigment was started
in
L eclair 't'V'as a
He made elaborate
I nvestigations
l
amoUlt of air. 59
The zinc ores are S Tllel ted, the z inc being distilled off
and collected as molten zinc .
After it
in
1840.
I t is colder in appearance
82
preferred to ,n.'1i te Lead in gr 01.,mcis .
Z inc tTh i te i s
It should therefore
lvhen heat e d ,
L i thopene , clay ,
.5.5 .
1 6 2 Ibid . , p . 56 .
1 6 3Fabri , C O LOR , p . 105 .
INDEX
Alizarin Lakes , 1 8 , 1 9 , 20 ,
21 .
Cyaneous , 40, 41 .
Delf't Blue , 41 .
Antwerp Blue , 21 .
Asphalt , 7 .
Aureolin, 21 , 22 .
A zure , 22, 23 .
Bariura Yell ow, 23 , 24 .
Blue-Bl ack, 24 , 25 .
Blue-Gr e en and Gr een-Blue
Oxide , 25 , 26 .
8.
Indian Re d and R e d Iron
Ox ide s , 43 , 44, 45 .
Indian Ye llo't-l , 3 , 4 , 45 ,
_6 , 47 .
Lamp Black, 47 , 48 .
Brilliant YellovJ, 26 .
Halachit e Green , 48 , 49 .
28 , 29 0
C admium R e d , 29 , 3 0 .
Manganes e Viole t , 3 , 49 ,
50 , 51 .
C arbon Black, 30 , 31 .
C erulean Blue , 31 , 32 0
![etho ds t o Te s t Pigments ,
8 , 9 , 10 , 11 , 12, 1 3 ,
Chrome Re d , 33 , 34 .
14 .
Naple s Ye llo't'l, 3 , 5 2 , 53 .
O ce s , Natural and C alc ined,
53 , 54, 55 , 56 , 57 .
Oxide of' Chromium, Opaque ,
'
71 .
Umb ers , Natural and Calc ined, 71 , 72 .
Vermilion, 3 , 7 2 , 73 , 74 ,
75 1'
VJhi t e Lead , 3 , 76 , 7 7 , 7 8 ,
79 , 8 0 .
Z inc 'tmite , 3 , 8 0 , 8 1 , 8 2, 8 3 .
B IBLIOG BAPHY
The b ooks in the foll o"t-Jing list 'tvere the main
l i terary s ources u s ed in s tudying art i s t s ' pigment s .
}lany wer e us e d in trac ing the exact meanings of obs cure co lor names and in clearing up e rror s in r egard
to synonymous terms .
other
87
Heber , F .
H . AR T IS T S '
PHYS ICAL
P IGHEHT S :
PRO PERTIE S .
THEIR
He'1'l Yo rk:
D . Van No s