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Special topics in art history
Course: Special topics in art history > Unit 2
Lesson 3: About colorMaking Purple: The Science of Art | National Gallery, London
Artists traditionally create purple by mixing red and blue pigments. The National Gallery Scientific Department identifies these pigments using microscopic examination and x-ray analysis. They discovered that blue azurite and red lake pigments, derived from insects or plants, make up purple. Over time, red lake pigments fade, altering the original color in artworks. This knowledge aids in preserving art for future generations. This film accompanies the National Gallery exhibition 'Making Colour' (18 June - 7 September 2014). More about the exhibition: http://www.nationalgallery.org.uk/making-colour Watch more on our Channel: http://www.nationalgallery.org.uk/channel.
Want to join the conversation?
- How do they actually make the paint?(3 votes)
- Thay mix pigment with a binding agent till it terns into a paste (sorry for bad spelling)(4 votes)
- would they gather the insects and plants for the pigment, or would they farm them?(2 votes)
Video transcript
In painting, the colour purple was traditionally
achieved by artists mixing red and blue pigments together. Different mixtures resulted in purples
of varying intensities and shades. But how can the separate ingredients of a
purple be identified? At the National Gallery Scientific Department
a tiny sample of paint, usually taken from the edge or from underneath the frame of a
picture, is immersed in resin, dried, and then polished to produce a cross-section. This cross-section can be examined at high
magnification under a microscope. This sample clearly shows separate blue and
red pigment particles. Other methods of examination tell us even more. This scanning electron microscope, coupled
with an energy dispersive x-ray analyser, can determine the composition of the pigments. The blue pigment in this purple paint contains copper, identifying it as the mineral azurite. The red pigment contains aluminium, which is characteristic of what are known as 'red
lake' pigments. The colour in red lake comes from the dyestuff
in insects such as kermes or cochineal, or plants such as madder root. Analysing a red
lake using high performance liquid chromatography can identify which of these materials were
used. To understand the ways in which a colour could have been obtained, members of the Department
use historical recipes to prepare pigments. This is a 19th century method for obtaining
red lake from madder root. Red lake pigments are particularly prone to
fading on exposure to light. In this portrait of a young princess by Jan
Gossaert the blue pattern on the sleeves was originally purple. The red lake pigment Gossaert
mixed with blue azurite has almost entirely faded and the original colour is now only
visible at the edge, where the paint has been protected from light. The Scientific Department's contribution to
understanding the materials, behaviour and stability of colour helps conservators and
curators not only understand how the paintings in the collection have changed over time,
but also how best to preserve them for the future.