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Dictionary of Artists' Oil Pigments: Their Chemical and Physical Properties

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Dictionary of Artists' Oil Pigments: Their Chemical and Physical Properties Illinois Wesleyan University Digital Commons @ IWU Honors Projects Art, School of 1969 Dictionary of Artists' Oil Pigments: Their Chemical and Physical Properties R. Bruce Handlong '69 Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/art_honproj Part of the Arts and Humanities Commons Recommended Citation Handlong '69, R. Bruce, "Dictionary of Artists' Oil Pigments: Their Chemical and Physical Properties" (1969). Honors Projects. 2. https://digitalcommons.iwu.edu/art_honproj/2 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. DICTIONARY OJ? ARTISTS f 011 PIG-r-fEHTS : I THEIR CHENICA1 AND PIiiS ICAL PROPERTIES " by ARCHIVES RQ Bruce Handlong 15/ d 1-1;( ,310 d. Submitted for HonDrs �'Jork In the Department. of Art Illi nois \!Jesleyan University . BloolJ'1..ington,. 'Illinois 1969 mInols Wesleyan Un:lv� Librade1l Bloomington,_ Ill.. 617.01 Accepted by the Department of Art of Illinois vJe sleyan University in fulfillment of the requirement for departmental honors. !�' J 'J!. , /" l7£6f Da te ii PREFACE This work is primarily intended as a reference for the artist who seeks to know more about the chemi- cal and physical properties of oil pigments that he has at his disposal. By better understanding these proper­ ties, the artist ca n insure the durability and perma- nency of his creations and, also, give him a firm foun- dation on which he may begin to develop an individual style. In preparation of this dictionary, I was con- cerned only with the standardization of color names of oil pigments. I was not concerned with color theories of Munsell, Ostwald, or Young-Helmhotz. All the color terms that were ambiguous or irrelevant were omitted. The substance of this work is compiled in encyclopedic form, and to facilitate reference, an index is appended. Acknowledgment is due to tw o of my instructors: Dr. Wendell W. Hess, chemistry, and Mr. Benjamin W. Vrana, German. With their personal counseling I was able to write this paper. April 27, 1969 R. B. Handlong TABLE OF COITTE1JTS PREFACE • • • • • • • • • • iii INTRODUCTIon • • • • • • • • • • • • • • • • • • 1 SOURCES OF PIGI,lENTS • • • • • • • • • • • • • • • 1 H01'l COLORS v-JERE IN TI·1E • • • • • • • Nil.DE PAST ;; NETHODS USF.n TO TEST PIGlvJENTS • • • • • • • • • • 8 LIST OF COLORS • rt • • • • • • • • • • • • • • • • 14 PIGl1ENTS • • • • • • • • • • • • • • • • • • • • 17 Th eir Chemical and Physical Properties, Com- position, Synon;lms, Characteristic Distin- guishing 'Ilests , History and Source . INDEX • • • • • • • • • • • • • • • • • • • • 84 BIBL IOGRil.PIIT • • • • • • • • • • • • • • • • • • • 86 iv DICTIONARY OF ARTISTS' OIL PIGMENTS: THEIR CHEMICAL AND PHYSICAL PROPERTIES INTRODUCTION It has frequently been observed that while Hubert and Jan Van Eyck, DU rer, da Vinci, Seurat, and other mas­ ter painters knew the capabilities of the pigments they used, the artists of today do not. They are hesitant to concern themselves too closely with this study. Out of the need for a better understanding of art­ ists' oil pigments--their chemical and physical properties --has grown this present work. It is based upon intensive study of all past authors, making free use of their best points and acknowledging them for their labors and attempt­ ing to avoid those points which have found to be impracti­ cal. The ideal has been to present, in essentially usable form, a dictionary of artistst oil pigments, to be used as a reference for the artist. SOURCE S OF PIG�ffiNTS 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. The four sources of pigments are: natural, artificial, organic, and inorganic. It is simpler to classify them as earth colors, mineral (or metallic) colors, organic colors, and chemical colors. The earth colors are not really made of earth but various oxides of iron. The name was applied to them when "earth" was believed to be one of the four ele- ments constituting the earth. The other three elements were air, fi�e, and water. The iron ore used for preparing the colors can be obtained from practically anywhere on the surface of the earth. The prepared colors range in hue from yellow through diverse shades of buff, brown, and green, to,red and violet. The colors may be used as they are, but many of them (like raw siena and raw umber) can be calcined to produce darker hues (like burnt siena and burnt umber). Earth colors are lowest in price in all brands and are permanent,, 1 The mineral colors are obtained from metallic ele- ments. Various grades of white are made from aluminum, lead, titanium, and zinc.. The various grades are Trans- lRalph Fabri, COLOR: A COMPLETE GUIDE FOR AR TISTS, (New York: 1,.Jatson-Guptill Publications, 1967), p. 74. 3 parent t'Jhite (aluminum hydroxide), vJhi te Lead (lead car­ bonate), Titanium White (titanium dioxide), and Zinc tihite (zinc oxide) . Other elements that are used to produce pigments are antimony, cadmium, chromium, copper, manganese, mercury, and strontium. The pigments produced are, respectively: Naples Yellow (lead antimoniate), Cadmium Yellow (cadmium sulphide), Chromium Oxide, Trans­ parent (hydrated chromic oxide), Emerald Green (copper arsenate), Ma nganese Violet (manganese ammonium phos­ phate), Vermilion (mercuric sulphide), and Strontium Yellow (strontium chromate). Most o� the colors made �rom metallic elements are permanent. They are costlier than earth colors �or they have to be mined and care­ �ully processed. The organic colors are made �rom animal and vege­ table matter. Many o� these colors were used in the past. On e o� these colors is Indian Yellow , an impure magnesium and calcium salt o� euxanthic acid--c H Mg0 e5H 0. It 19 16 ll 2 was developed in 1735. It is prepared '�rom the urine o� cows that are principally �ed on mango leaves. The �ood stimulates the secretion o� bile which the excess o� strong­ ly colors the urine. It is made at Monghyr in Bengal by the tribe o� people known as Gw alas. The permanency o� colors produced �rom organic mat­ ter is questionable. Organic colors are being replaced by mineral and chemical colors. The reason �or the replace- 4 ment is two- fold. First, the quantity of pigments pre- pared from organic matter is not sufficient enough to meet the demands of the artist. The production of In- dian Yellow is restricted to the amount of urine pro­ duced. Normally, only two ounces of Indian Yellow is obtained daily from one cow producing 3/4 of a gallon 2 of ur�ne.. Secondly, the quality of pigments produced from mineral and chemical substances are more uniform in their permanency than are the pigments produced from organic matter. The chemical colors are produced in the labora­ tory. For a hundred years chemical pigments were un- reliable. They looked fine when applied but later faded or changed rapidly often ruining the whole work. One chemical would react to another and destroy the effect planned by the artist. Before World War I, cer- tain colors bore warning labels: liDo not mix 'tvith such- and- such color.1I Chemically produced pigments are now more uniform in color and quality than natural ones. Mars colors are a notable case. �hey are artificial ochres derived from the hydrate and oxide of iron. All Mars colors- -black, red, violet, and yellow- -are fully reliable. Reliability, however, does not necessarily imply brilliance. If truly 2 F• "VI!. t'leber, ARTISTSI PIGI1ENTS: THE IR CHErUCA L AND PHYSICA L PROPE RTIE S, (New York: D. Van Nostrand Company, 1923)" p. 67. bright colors in reds and yellows are desired, it is 3 advisable to use cadmium colors. HOVl COL ORS WERE 11ADE IN THE PA ST Until early in the nineteenth century, artists prepared their own colors and other art materials or had apprentices to do their work. The number of colors was limited because only natural pigments were employed. Artists of the Renaissance and Baroque periods, from the fifteenth to the eighteenth century, worked with a palette of six to twelve hues. Leonardo da Vinci (1452- 1519) asserted that the artist needed only six colors: white, the color of light; yellow, the color of earth; green, the color of water; blue, the color of the air; red, the color of fire; and black, the color of total 4 4 darkness. Artists of, the Venetian school hardly ever used a real blue or green; they preferred the golden, warm tones which 'tV"ere in keeping with the luxurious life of the fabled city on the lagoons. Each school had its own special likes and dislikes in color. Very often this preference was due to the fact that certain colors were unavailable. From a specific color used in a painting, we can often tell where a cer- 3 Fabri, COL OR, p. 75. 4 �., p. 80. 6 tain painting must have been painted. The period can, also, be recognized by the fact that a certain color-­ not introduced until a certain date--is employed in the painting. All the materials were tested by the master. The paintings, as a result, that have survived are still in fine condition.
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