Although colour theory might be a banal subject to most, it is absolutely crucial if one is in search of the much-coveted Philosopher’s Stone. Colour change was believed to be an indicator of progress for alchemists attempting to change metals like lead into pure gold, a process called transmutation.
The burning of black lead produces red and yellow substances that were thought to be interim steps on the way to a perfect metal. While alchemy is often scoffed at these days, its practitioners laid the foundation for modern experimental chemistry.
Dr. Philip Ball, Science-Writer-in-Residence at University College London spoke on “Chemistry and Colour in Art.” He examined the way alchemical colour change created new colours for artistic use.
Vermilion is a well-known red pigment that actually begins as a hard, black substance; chromium is a powerful and versatile element that can be combined with lead and oxygen in various combinations to create Siberian red, chromium yellow, chromium green and chromium orange.
During the Renaissance, the materials with which painters created their masterpieces could indicate much to a trained eye. Ball was clear that one “needs to analyze materials to understand the painter’s meaning.” The most spectacular blue pigment of the Renaissance, ultramarine, was created from lapis lazuli mined in remote Afghanistan and purified through a long process. The expensive pigment was used only for the most spiritually significant elements in religious works, and it was common to find the Virgin Mary’s robe painted in this stunning blue.
The emergence of synthetic colours in modern times allowed artists, most notably the impressionists, to obtain ready-made pure pigments, which began to decrease the significance placed upon material and chemistry in the artistic process. This has led to a disconnection between artists and their medium, which may have resulted in a distrust of paint and an embracing of other mediums, like sculpture and digital imaging.
