No abstract

This essay investigates how, over the course of the nineteenth and twentieth centuries, painters, art historians, and chemists fused a bond to undo the damage they believed the industrial revolution had caused the art of painting. Even though the industrial revolution produced many novelties for painters, from a whole new range of colors to pre-prepared paints, these new materials were not always stable and were sometimes even contaminated for industry's own gain. As another consequence of the industrial revolution, painters no longer produced their own supplies and thus lost the ability to assess the qualities and technical possibilities of the materials they were using; their paintings sometimes degraded in a matter of decades. The works of the old masters, on the other hand, were admired for their ability to keep their condition for centuries. It was hoped therefore that the rediscovery of the materials and techniques of the old masters would help "modern" painters to once again bring a similar "immortality" to their fame. What is more, the methods and collaborations that painters, art historians, and chemists established in light of the above constitute today the pillars of the emerging field of technical art history.How long will our pictures last? 1 T he industrial revolution produced many new materials for the painter, from synthetic pigments such as Prussian blue, cadmium yellow, and emerald green to the paint tube, invented and patented in 1840. With an extended palette, I would like to express my sincerest gratitude to Sean Lang, Karen Macmull, and Michael Jones for proofreading my text in its various stages and to the reviewers for their valuable feedback. Any errors are my own.1. L. Zechmeister, " 'Wie lange werden unsere Bilder dauern?' (Ein Experiment in der Farbfabrikation).

This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder.Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher apologizes for any errors or omissions in the above list and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book.We would like to acknowledge the generous financial support of the Dutch Research Council (NWO) and the Centre for Research in the Arts, Social Sciences and Humanities, Cambridge (CRASSH), which was instrumental for this book project coming into being. This publication is part of the project Deceiving stuff: histories, functions, techniques, and effects of material mimesis (with project number 275-54-001) which is financed by the Dutch Research Council (NWO). We would like to thank Liesbeth Hugenholtz, Ann-Sophie Lehmann, and the SIAM editorial board for their support for this project and the anonymous press reviewer for helpful comments.

This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder.Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher apologizes for any errors or omissions in the above list and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book.We would like to acknowledge the generous financial support of the Dutch Research Council (NWO) and the Centre for Research in the Arts, Social Sciences and Humanities, Cambridge (CRASSH), which was instrumental for this book project coming into being. This publication is part of the project Deceiving stuff: histories, functions, techniques, and effects of material mimesis (with project number 275-54-001) which is financed by the Dutch Research Council (NWO). We would like to thank Liesbeth Hugenholtz, Ann-Sophie Lehmann, and the SIAM editorial board for their support for this project and the anonymous press reviewer for helpful comments.

This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license.