Pigments
Market Scene
Sketchbook, Ink
Man has been interested in documenting his surroundings ever since he discovered he could use burnt sticks to decorate the living room wall. Just take a look at the abundance of artwork discovered in numerous caves around the world! The only fact of which we remain uncertain, is whether these early cave paintings were rendered by an artist or a historian.
The earliest pigments were found naturally occurring in the earth’s surface and include ochres, siennas, umbers, iron oxides, and terre verte. One of the first pigments, carbon black, is still used today in the form of vine, willow, and compressed charcoals.
Although prized for their intensity as well as their longevity, pigments such as cadmium, cobalt, and lead are toxic. While they may be relatively safe to use in the studio once mixed with a vehicle such as linseed or walnut oil, they should probably not be used in the manufacture of pastels. If your pastels contain toxic pigments, consider finding an alternative or at the very least, use a respirator.
As natural earth pigments become depleted from the earth’s surface, they’re being replaced by synthetic versions. Organic pigments don’t possess the longevity of their mineral counterparts, and the newer synthetics often have better handling properties as well. Chrome Yellow, once popular with impressionist era painters, is so notoriously fugitive that even as his Sunflowers were being painted, Van Gogh knew they would fade over time.
Eventually however, even the most stable pigments will become altered by time and exposure to light. Watercolors and pastels are more susceptible to fading than oils and acrylics, and using a fixative can help stabilize the pigments found in both pastels and colored pencils. Reds and violets are notorious faders, and even the historically stable Ultramarine Blue has it’s problems in an acidic environment!
Unless the artist is making his own paints or pastels, he has little control over the quality of the materials used in the manufacturing process. He does however, have ultimate control over the source of his supplies. Reputable companies will make light fast and toxicity information available to the artist.
The best the artist can do is to use the best quality materials available. Light fast ratings of ASTM I (best) or II (very good) on your materials are comparable to Blue Wool ratings of 8 through 6, and for gosh sakes before you throw them out, do your own light fast testing! Nita Leland has posted some interesting information from her own testing regarding Alizarin Crimson. Also keep in mind that the artist doing a light fast test in Finland will have vastly different results from the artist doing the exact same test in Puerto Rico.
If you’re having a love affair with your favorite color and can’t bear the thought of breaking off the relationship, fine art prints are a viable alternative for keeping your favorite fugitives. Archival printing inks are light fast, and vendors often offer a variety of sizes and supports that will suit most budgets.
The longevity of pigments is important to the consumer. No one wants his bright red shirt fading to pink after a few washings any more than he wants his fine art vanishing off the wall. The notion that once the artwork is finished, it’s longevity is in the hands of the conservator is unrealistic to the average customer or novice art collector.
Advise clients about placing artwork in the home, or recommend UV glass to protect their investment. Your work is your reputation.
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Great post and sketch, Lisa!
I’m glad you shared this info, I’ve always advised people who purchase my work to use UV glass and tips on where to hang the work so that it will last for the longest possible time…without fading.
(field trip to the Louvre anyone?)
It’s a shame, really, that we’ll never be able to see some of the older works in “all their glory” as far as colours go. Although I’d be happy to just see them in person period!
Thanks Rita! I’ve been learning a lot about artist materials while my work area is “under construction.” It’s keeping me off the streets and out of trouble.
How about a European museum tour? We could rent a camper, and take the back roads between cities for a little plein air painting!
I wonder if Evans’ statement about watercolor and pastels being conserved in dim light might have more to do with them being on paper?
That’s a good question Casey. My initial thought was that it was because pigments suspended in oils or acrylic emulsions have more UV protection than pastels or watercolors due to the protective coating provided by their liquid vehicles. However, paper quality varies, and there may be other factors involved that require the reduced lighting.