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Ultramarine is a deep blue color pigment which was originally made by grinding lapis lazuli into a powder. [2] Its lengthy grinding and washing process makes the natural pigment quite valuable—roughly ten times more expensive than the stone it comes from and as expensive as gold. [3] [4] The name ultramarine comes from the Latin word ...
Ultramarine became more widely used after its synthesis in the 19th century, which lowered its price substantially. [11] Synthetic ultramarine was widely appreciated by the French impressionists, and Vincent van Gogh used both French ultramarine and cobalt blue for his painting The Starry Night (1889).
Marian blue is a tone of the color ultramarine named for ... patrons were expected to purchase any gold or lapis lazuli to be used in the painting. Hence, it was an ...
Fast-forward to 1949: Dan Robbins, an artist at the Palmer Painting Company in Michigan, has the ingenious idea to apply Michelangelo's orderly process on a much smaller scale. Thus, paint by ...
Subsequently, the factory was expanded substantially around the Dansom Lane site, the works in Stoneferry were also expanded, increasing production of Ultramarine to 650 tons pa, and adding mills for graphite. [4] [14] In 1894 James Reckitt accepted a Baronetcy, in part for his services to the local Liberal Party. [15]
Jean-Baptiste Guimet (20 July 1795 – 8 April 1871), French industrial chemist, and inventor of synthetic colors, [2] was born at Voiron, Isère.. He studied at the École Polytechnique in Paris, and in 1817 entered the Administration des Poudres et Salpêtres. [3]
For much of its history, azurite was used more frequently than ultramarine, despite ultramarine being held in higher esteem. During the Middle Ages and Renaissance, the two were closely related as azurite would often be used as an under-paint for ultramarine, possibly to lower costs as ultramarine was the more expensive pigment of the two. [1]
In 1877, Monet had added the pigment to his palette, using it in a painting from his series La Gare Saint-Lazare (now in the National Gallery, London). The blues in the painting include cobalt and cerulean blue, with some areas of ultramarine. Laboratory analysis conducted by the National Gallery identified a relatively pure example of cerulean ...