Updates

This blog will contain any updates referring to:

1. The preparation and application of the natural and mineral pigments.

2. Any further information from conservation departments including new insights from infrared and X-radiographs of analysed paintings.

Correction to Vol. I

Index. Please note due to a software error index references are 2 pages short: 1.e page 178 should read 180

 

For Upcoming Lectures on Natural Colour and Proportion and Composition

see the Event Page

Chroma Panel No. 1

Chroma Panel No. 1

Chroma Panel No. 2

Chroma Panel No. 2

 

Past Lectures on Youtube:

          December 2017: Munich Art Academy, Germany

https://www.youtube.com/watch?v=L4R9kyHialE&t=5090s

June 2017: Lecture and Book Presentation at Kremer Pigments, New York

https://www.youtube.com/watch?v=bdyWVpgCAko

Upcoming Lectures:

A Contemporary Solution

to Making Renaissance Blue Pigments

Lecture by Artist Michael Price

April 10th, 2019, 6:30 pm

ENG Building 306, Pratt Institute

200 Willoughby Ave., Brooklyn, NY 11205

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CAA Conference

Thursday, February 14, 2019: 6:00 PM-7:30 PM

A Contemporary Solution to Making Renaissance

Blue Pigments

Michael D. Price

Abstract Text:

The color blue has always displayed a special spiritual significance in the history of art. Natural blue minerals for use in painting are limited to the semiprecious stone lapis lazuli and azurite. First of all, my presentation compares the famous Cennino Cennini recipe with my protocol (yet to be published) in which pure lazurite can be separated from the mineral lapis lazuli through three simple steps in the artist's studio. Each step is photographed and supported with images of unprepared and prepared pigments under the microscope. In addition, tests show the causes of the discoloration of natural ultramarine known as ultramarine sickness. Secondly, the presentation examines the misinformation surrounding the stability of azurite in paint layers. This is due to a fundamental lack of understanding of how to paint with the pigment. Through focused-ion beam images, I demonstrate the first step to stabilize this pigment for use in a variety of binding mediums. Finally, the discussion covers the challenges of painting with natural pigments and how this differs from the modern synthetic blues whether in oil or acrylic binding mediums. Examples from Raphael to Lippi show the success and failure of artists using lapis lazuli and azurite. My painted panels demonstrate the chromatic range and possibilities of the natural pigments for contemporary artists.

Session Selection:

Early Modern Craftsmanship and Contemporary Techniques

Lapis lazuli Preparation

7. calcite floatation.JPG
Michael Price