Derived from the dull yellow-green of chromium oxide, it was widely used by Impressionists, and well into the 20th century. Less toxic, but an environmental hazard.
pigments
A highly toxic arsenic salt, it succeeded Scheele’s green and was widely used until the 20th century, and finally discontinued in the 1960s.
A natural mineral, it was unpopular in oil paint because of its coarse granules, but worked well in water-based media. It faded from use after a brief revival in the 19th century.
Defines and explains key terms, from the support, through the ground and paint layer with its binder and diluent, to the varnish to protect its surface.
The first modern synthetic pigment, from 1704. Adopted by Canaletto, Hogarth and many others since, and still offered in many paint ranges.
First imported through Venice by 1300, it became more precious than gold until it could be made synthetically from 1830. The queen of pigments.
Originally extracted from the madder plant, and turned into a pigment by laking, its colour could fade within months. Later purified to alizarin it proved no better, and is now used as a measure of non-lightfastness.
The red that lasts hundreds of years without fading, but it’s a highly toxic salt of mercury. Used in European paintings from the Romans to the late 19th century.
Indian Yellow was allegedly made from the urine of cows fed on mango leaves, dried into balls, but was outlawed as it cruel to the cattle. Chrome Yellow was widely used by the Impressionists.
Used by all the masters from about 1300, including Leonardo da Vinci, Veronese, Rubens and Rembrandt, this pigment was lost in the early 18th century and wasn’t rediscovered until 1940.
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