I had been gathering information about colour pigments regarding what they had been made from, and how, before the use of modern artificial colours. The names of the paints then often reflected the materials and processes used.
Refer to
shttp://www.visual-arts-cork.com/artist-paints/colour-pigments.htm
“It includes traditional pigments used by prehistoric cave painters and artists from Ancient Antiquity, as well as colours which appeared in palettes of the Renaissance, Baroque, Rococo and Impressionist periods. Since the late-19th century, the majority of pigments employed by most painters are improved synthetic variants of older colours. Nowadays, most natural colourants are obsolete, an exception being the costly Ultramarine, made from the precious Lapis Lazuli. Modern artificial colours tend to be more lightfast, more permanent, more intense and considerably cheaper and safer to use. It’s amazing how many of the older pigments (both natural and early synthetic variants) were highly toxic compounds containing lead, mercury, chrome, arsenic – even cyanide. Given the workaholic nature of many Old Masters and modern-era painters, one wonders how many of them were adversely affected by constant contact with such unhealthy chemical colourants.”
“Bone White
Obsolete; it was made by burning bones to a white ash. Cennino Cennini in his Il Libro dell’Arte says ‘the best bones are from the second joints and wings of fowls and capons; the older they are, the better; put them into the fire just as you find them under the table.’ It was used as a ground for panels.”
“Carbon Black
An ancient black pigment, it was traditionally made by charring organic materials like wood or bone. It was a pure form of carbon, and was referred to by a variety of names, depending on how it was made. For example: “Ivory black” was produced by burning ivory or bones; “Vine black” was made by charring dried grape vines; “Lamp black” was made from soot collected from oil lamps. Synthetic versions have now replaced these traditional organic forms, except in certain specialized arts, like calligraphy and Oriental painting.”
“Carmine (Cochineal and Kermes)
Used since Antiquity, Carmine is a natural organic crimson pigment/dye made from the dried bodies of the female insect Coccus cacti (Cochineal), which inhabits the prickly-pear cactus, and also from a wingless insect living on certain species of European live oaks (Kermes). The cactus insects were first heated in ovens, then dried in the sun, to produce “silver cochineal” from which the finest pigment was made. Cochineal is still made in Mexico and India.
“Indian Yellow
This clean, deep and luminescent yellow pigment (also called Puree, Peoli, or Gaugoli), was introduced to India from Persia during the 15th century. Indian Yellow was produced by heating the urine of cattle fed on mango leaves, a cruel process ultimately banned in 1908. The pigment was popular with both oil and watercolour painters because of its body and depth of tone. Relatively stable, it could be combined with all other pigments and its lightfastness in oil paintings was enhanced when isolated between layers of varnish.”
“Umber
Used as a paint-colourant since prehistoric times, Umber is a natural brown clay pigment containing iron and manganese oxides. Heating intensifies the colour, and the resulting pigment is commonly called burnt umber. It was originally mined in Umbria, a region of central Italy, although the finest quality umber comes from Cyprus.”
“Lead White
Also called Flake White, Flemish White, Cremnitz White, and Silver White, this is one of the most ancient of man-made pigments and the oldest white colourant still employed by modern artists. Used since Ancient Antiquity, lead white was the only white pigment in European easel-painting until the 19th century. Among its many attributes, it has the warmest masstone of all the white pigments. In addition, it possesses a heavy consistency, a very slight reddish-yellow undertone and dries faster than any similar colour, making ideal for ‘alla prima’ techniques. And while its lead carbonate is toxic, and therefore not incorporated into water soluble paints, its use in oils appears relatively safe. It still appears on the palettes of artists today, but has been largely superceded by titanium white.”
P2, Miss White and I discussed some of these pigment names together.
When I asked P2 what they thought the Cochineal Red might be made from they gave the following, simply magical, answers;
Megan “Fire”
Alfie “Lava”
Eve “Apples”
We then looked at how I had named my colours taken from the studio (see previous post), using the only the words I’d gathered in response to the what, where, when questions about each object.
P2 then proceeded to do the same to name their man- made colours from the classroom. Go to their part of the journal to see what they came up with -their suggestions were great.