El Greco Iconography Pigment - Blue Ultramarine - 100gr
Theophanis the Greek pigments are named in honor of the great Byzantine icon painter Theophanis the Greek (1340–1410), one of the most influential figures of late Byzantine art.Ultra-fine pigments for icon painting and fine art, free of impurities or coarse particles.Sourced from selected mines around the world, including rare and exotic locations. + Read More
Theophanis the Greek pigments are named in honor of the great Byzantine icon painter Theophanis the Greek (1340–1410), one of the most influential figures of late Byzantine art.
- Ultra-fine pigments for icon painting and fine art, free of impurities or coarse particles.
- Sourced from selected mines around the world, including rare and exotic locations.
- Superior to low-grade (construction-type) pigments thanks to:
- Excellent opacity (colors marked O – Opaque).
- Outstanding lightfastness (marked *, **, ***).
- Consistent, finely milled particle size.
- Easily mixed with egg or glue for traditional icon painting, as well as color-making media such as linseed oil, alkyd resins, etc.
- Suitable for both professional and hobbyist icon painters and artists.
- T : Transparent | S/O : Semi-Opaque | O : Opaque
- FR : Suitable for FRESCO technique
- o : Light sensitive | * : Medium lightfastness | ** : Good lightfastness | *** : Very good lightfastness
- Note: When opacity or lightfastness is not specified, no information is provided by the supplier.
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Product TypeDry Pigments
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Barcode5212016643699
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Color FamilyBlue
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Color NameBlue Ultramarine
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Paco code8311365
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No.44
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ManufacturerEl Greco
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Size100gr
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SKUELGREC-400.100-44
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DescriptionDry Pigment
Πληροφορίες Χρωστικής
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Pigment NamePB29-Ultramarine [Blue]
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Pigment typeinorganic
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Chemical Namecomplex silicate of sodium and aluminum with sulfur
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Chemical FormulaNa8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
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Properties
Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.
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Permanence
Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.
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Toxicity
Ultramarine has no significant hazards.
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History
The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.
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