Artists' pigments : a handbook of their history and characteristics
- Cambridge [Cambridgeshire] ; New York : Cambridge University Press ; Washington : National Gallery of Art, c1986-
- Physical description
- v. : ill. (some col.) ; 25 cm.
The Art & Architecture Library is closed July 25 - Sept. 9 during its relocation to the new McMurtry Building. The collection is not accessible during this period. Please contact Interlibrary Borrowing to obtain this title.
- Library has: v.1-
ND1510 .A77 1986 V.1
ND1510 .A77 1986 V.2
ND1510 .A77 1986 V.3
ND1510 .A77 1986 V.4
- Library has: v.1-
- Includes bibliographies.
- v. 1. Indian yellow
- Cobalt yellow (aureolin)
- Barium sulfate - natural and synthetic
- Cadmium yellows, oranges, and reds
- Red lead and minium
- Green earth
- Zinc white
- Chrome yellow and other chromate pigments
- Lead antimonate yellow
- v. 2. Azurite and blue verditer
- Ultramarine blue, natural and artificial
- Lead white
- Lead-tin yellow
- Verdigris and copper resinate
- Vermillion and cinnabar
- Malachite and green verditer
- Calcium carbonate whites
- v. 3. Egyptian blue
- Orpiment and realgar
- Indigo and woad
- Madder and alizarin
- Vandyke brown --Cassel earth, Cologne earth
- Prussian blue
- Emerald green and Scheele's green
- Chromium oxide greens
- Chromium oxide and hydrated chromium oxide
- Titanium dioxide whites
- v. 4. Pigments Based on Carbon; Iron Oxide Pigments; Asphalt; Cobalt Blue; Arylide (Hansa) Yellow Pigments."
- Publisher's Summary
- A Pigment Handbook is designed to reach a wide audience as the ultimate authority on artists' colorants. With the support of the National Gallery of Art, Professor Robert Feller has edited a collection of essays on ten of the most important pigments for conservators, restorers, and art historians. Many of the monographs first appeared in the quarterly of the International Institute for Conservation of Historic and Artistic Work. The first two sections describe the character and nomenclature of the pigment and the history of its use. The third section deals with such matters as colour, permanence and compatibility. The fourth section enumerates the varieties of the pigment available, differences that may arise owing to different methods of preparation, and, in the case of colorants that could be of natural origin, the potential variations of character dependent on the source. Section Five describes the methods and procedures that can be employed to identify the pigments. Finally, the sixth section of each essay lists the principal citations in which the particular pigment has been identified in various objects of artistic and historic significance.
(source: Nielsen Book Data)
- Beginning date
- Robert L. Feller, editor.
- Vol. 2 edited by Ashok Roy.
- Vol. 3 edited by Elizabeth West FitzHugh.