Yellow ochre
Yellow ochre is one of the oldest pigments in use since prehistoric times until present day.
Emerald green
Emerald green offers lucidly presented artistic and scientific information on this brilliant but extremely toxic pigment.
Cézanne, Chestnut Trees at Jas de Bouffan
‘The chestnut trees’ is an unusual view of Jas de Bouffan, Cézanne’s country villa and is a fully representative example of the artist’s mature period.
Azurite
Azurite is a natural blue pigment which has been in use since antiquity. It was much cheaper than natural ultramarine.
Orpiment
Orpiment is a rather rare yellow pigment which has been in use since antiquity. It is arsenic sulfide and as such it is very poisonous.
Cobalt blue
An extensive collection of information on properties, preparation, identification, and use of cobalt blue – a popular pigment with the Impressionists.
Chrome yellow
Chrome yellow is not very stable but popular pigment with the impressionists and painters such as Vincent van Gogh, Paul Gauigin and Paul Cézanne.
Renoir, La Yole
Learn about Renoir’s pigments and his painting technique in this impressionist painting of boating on the Seine.
Vermilion
Vermilion (cinnabar) was one of the most important red pigments in use from antique times until about the nineteeth century.
Rembrandt, Belshazzar’s Feast
Rembrandt’s depiction of a story from the Old Testament about the blasphemy of the Babylonian king and his punishment by God.
Resources Rembrandt
Rembrandt van Rijn: books, articles, websites and videos on the paintings, pigments and technique of this Dutch baroque painter.
Resources Johannes Vermeer
Resources: Johannes Vermeer. Books, articles, websites and videos on paintings, pigments and technique of Johannes Vermeer.
Resources: Pigments
Resources such as books, articles and websites about pigments. Learn about pigments and other painting materials used in paintings of all art periods.
Madder lake
An extensive collection of information on the properties, preparation, and identification of madder lake. Special emphasis is put on its use in oil painting.
Lead-tin yellow
Lead-tin yellow is an artificial yellow pigment first employed in paintings in the early renaissance. Titian, Vermeer, and Rembrandt had used it often.
Vermeer, The Milkmaid
The pigment analysis of ‘The Milkmaid’ reveals the painting technique behind Vermeer’s masterful rendition of surfaces such es the whitewashed wall.
Titian, The Aldobrandini Madonna
Titian, The Virgin and Child with the Infant Saint John and a Female Saint or Donor (‘The Aldobrandini Madonna’), about 1532
Duccio, The Virgin and Child
Duccio di Buoninsegna, The Virgin and Child with Saint Dominic and Saint Aurea, and Patriarchs and Prophets, about 1312–15
Ultramarine artificial
Ultramarine artificial is the synthetic variant of the expensive natural pigment prepared from the mineral lapis lazuli.
Ultramarine natural
An extensive collection of information on properties, preparation, identification, and use of ultramarine natural – the intense and expensive blue pigment.
Titian, Bacchus and Ariadne
Titian, ‘Bacchus and Ariadne’. A classic story of love and deceit depicted by one of the greatest Italian painters of high renaissance.