The Impressionists. (DONALD! - many thanks.)

[Jim Feeney]

Great post and good history lesson. Thank you.
"Arcadian" <mar...@arcadian.plus.com> wrote in message
news:u8$uTl2eCHA.1864@tkmsftngp11...

cadmium sulphide CdS
cobalt oxide-aluminium oxide CoO.Al2O3
lead chromate PbCrO4
cobalt acetoarsenate Co(CH3COO) 2.3Cu(As2O2) 2
complex sodium alumino silicate Na8Al6Si6O2S2
hydrated lead carbonate 2Pb(CO3) 2.Pb(OH) 2
mercuric sulphide HgS
hydrated chromium oxide Cr2O3.2H2O

Why were these so important to the Impressionists? OPEN
The principal Impressionist
painters were Claude Monet,
Pierre Auguste Renoir, Camille
Pissarro, Alfred Sisley, Berthe
Morisot, Armand Guillaumin,
and Frédéric Bazille, who worked
together, influenced each other,
and exhibited together independently.

Edgar Degas and Paul Cézanne also
painted in an Impressionist style for
a time in the early 1870s. The
established painter Édouard Manet,
whose work in the 1860s greatly
influenced Monet and others of the
group, himself adopted the
Impressionist approach about 1873.
For centuries, paints were made
from things like ground up beetles,
burnt bones, and different kinds of
metal, and even precious stones.
Some of the colours were bright,
but many were muted and dull.
In the mid-1800's, chemists found
ways to produce many new and
vibrant colours in their laboratories.

The Impressionists and Post-
Impressionists were the first
artists to use these bright, new
pigments. The Impressionists made extensive
use of colours newly invented in the
nineteenth century, such as emerald
green, French ultramarine and
viridian, but they also used many
traditional colours; perhaps more
important than their choice of
pigments was the way they used
them - relatively unmixed, so as
to give a vivid and highly coloured
effect. Most of their colours are still
widely used today.

The chemical compounds listed
on the opening page are:

Cadmium Yellow Deep
Cobalt Blue
Chrome Yellow
Emerald Green
French ultramarine
Lead White
Vermillion
Viridian The materials available have
always limited what an artist can
do. For example, they used egg
yolk as a medium for paint (`egg
tempera'). Its rapid rate of drying
meant short brush strokes and
successive thin layers. Media based
on oils (linseed, walnut or poppy)
allowed the artists greater freedom
and techniques such as impasto and
`wet-in-wet'. Also, earlier painters
had only a limited range of pigments
available.
Some of these were `lake pigments',
which means they were soluble,
natural dyestuffs absorbed
on freshly precipitated alumina.
This gave them insolubility so they
could be used as pigment. Many of
these lake pigments were `fugitive' ­
they faded in light. Around the year
1800 the French government ­
although fighting major wars
against the British and other
European countries ­ gave
money to inorganic chemists to
discover and develop new pigments.
Some art historians have argued that
without the contribution of these
chemists the Impressionist
revolution could not have happened. Of particular importance was
the new "French Ultramarine".
This synthetic pigment was an
excellent replacement for
Lapis Lazuli, a very expensive
natural mineral sourced in
Afghanistan. Hitherto, finely
ground Lapis Lazuli was the
only permanent blue material
available to them as vegetable
blue dyes fade very quickly
when exposed to light.

These paintings by Renoir
illustrate the use of French
Ultramarine Blue very well.

Close

[~AJ~]

Excellent Martin, Monet and Renoir, both are my utmost favorites.;o))

AJ

[Yasmin]

Great post Arcadia, thanks for the information too, very interesting.
Yasmin
"Arcadian" <mar...@arcadian.plus.com> escreveu na mensagem

[Jacquie]

Lovely Martin:)

[Arcadian]

In that case, I'll do Monet next time <BG>

Martin

"~AJ~" <a...@anywhere.net> wrote in message
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[Arcadian]

Chemistry too!

Martin

"Jim Feeney" <jfe...@nospambellatlantic.net> wrote in message
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[Arcadian]

Thank you Yasmin.

Martin

"Yasmin" <rcr...@globo.com> wrote in message
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[Arcadian]

Glad you liked my post, Jacquie.

 

Martin

 

"Jacquie" <happ...@prodigy.net> wrote in message news:eotgzy8eCHA.1692@tkmsftngp09...

Lovely Martin:)

[Sandy J]

Excellent Arcadian!
I had to watch this twice! Once so I could pay attention to the images and the transitions. The second time so I could pay
attention to the text. It's very beautiful, interesting and informative and I thank you for posting and Donald for supplying the
script <snip>
Sandy

"Arcadian" <mar...@arcadian.plus.com> wrote in message news:u8$uTl2eCHA.1864@tkmsftngp11...

[Donald Anadell]

Hi Martin,

Sorry I'm so late stopping by on this one, it turned out excellent my friend. Very informative post as well, I learned a thing or
two:o)

Don

[Arcadian]

Thanks again, Donald.

As most folk will have moved on I thought it best to reply to you direct.

My tractor-mower blew up yesterday :-( I had been using it to chop and
sweep-up fallen leaves. The cutter blades are belt-drive (which is fine) but
the wheels have a sealed hydraulic dive. It was this that failed and left a
cloud of blue smoke and a pool of oil underneath. An expensive repair I
guess.

All the best

Martin

"Donald Anadell" <dana...@nospameastky.net> wrote in message
news:Oi75FYbfCHA.2508@tkmsftngp10...

[geekette (ellie)]

I finally had time to get back to the group for a few minutes. I am so glad
I did. . .this is totally excellent, Arcadian!
I watched this through again to enjoy the images and read the message.
Well done: lovely art work, interesting and educational. thank you Donald
for the
script

[Donald Anadell]

Yeow!! Sorry to hear this Martin, hopefully it can be fixed with a new seal. I'm into leaf blowing here for the next few weeks,
sure beats raking them:o)

Don

[Arcadian]

Many thanks, ellie,

I enjoyed doing the research after I had found the fabulous scans - and then
Donald helped me with the script.

Martin

"geekette (ellie)" <geek...@spambegone.cox.net> wrote in message
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