Blue Pigments. 5000 years of Art and Industry

Abstract

Blue Pigments. 5000 years of Art and Industry François Delamare Edición original: Bleus en poudres. De l’art à l’Industrie, 5000 ans d’innovations. Ecole des Mines de Paris, 2007 Archetype Publications Ltd., 2013. 442 páginas, 2460x2189mm. ISBN: 9781904982371

From lapis lazuli to synthetic ultramarines: a u-Raman spectroscopy investigation on the history and development of the Most Perfect Color

“…The peak centered at ca. 545 cm -1 is still detected and indicates the ultramarine blue presence [2,4]. The peaks centered at ca.…”

“…The detected μ-Raman profiles revealed the fundamental peak of S 3chromophore (at ca. 545 cm -1 -symmetric stretching ν1) [2,4]. The detected peak at ca.…”

“…Thus, the proportion of different sulfur species is regarded as one of the decisive factors influencing the final aspect of the pigment [2]. Natural lazurite occurs in association with other minerals like calcite (CaCO3), pyrite (FeS2), diopside (CaMgSi2O6), wollastonite (CaSiO3), forsterite (Mg2SiO4), phlogopite (K(Mg,Fe,Mn)3Si3AlO16(F(OH)2), muscovite (KAl2(AlSi3O10)(OH)2), and other sodalite group members such as nosean (Na8Si6Al6O24(SO4) H2O) and haüyne (Na3CaSi3Al3O12(SO4)), depending on the geographical origin of the rock [4].…”

“…In the traditional method of producing pigment from lapis lazuli, as outlined by Cennini [4,5], these minerals are removed by a lengthy purification process which, when repeated several times, results in several grades of pigment, each less saturated in color than the one before. The last, crudest, grade is typically referred to as ultramarine ash [4]. Ultramarine was a very expensive and precious blue pigment extensively used in Europe throughout medieval paintings [3].…”

Making and working Egyptian blue – a review of the archaeological evidence

“…However, there are no known deposits of this mineral in the Old World outside Afghanistan, and its availability in the Mediterranean littoral or Middle East would have been dependent on trade from afar, thus adding to the expense of the material (Plesters, 1993;Hatton, 2005: 16). A further disadvantage of using lapis lazuli as a pigment is that it consists of a mixture of minerals, which means that grinding it into a fine powder will result in a greyish-blue tint rather than the bright, deep blue of pure lapis lazuli (Delamare, 2013). Despite this, lapis lazuli has been used as a pigment for painting over a long period and wide geographic area, ranging from the 16 th century BCE to at least the 16 th century CE (Brysbaert, 2006;Brøns et al, 2020), and from Central Asia (Colomban 2003) and across the Middle East and Europe (Clark et al 1997;Radini et al 2019).…”