Is Maxine's Last Name Car

The question

Until a couple of centuries, artists had to make themselves based paint pigment and binder. Well, maybe some elite painter had a pupil who crushed stone ... although that would be another story, different paint.

The pigment is obtained, usually, minerals, plant materials and nature itself. Say, for ocher pigment, clay was good raw material to make black pigment, calcined bones or teeth and then carve it to make a fine powder pigment-be-a practice which goes back to primitive man.

This pigment, dissolved in a binder component (oil, wax, resin, yolk egg, lime, ...) allowed, the "dry" it is hard to stay the color on the basis of pictorial representation, providing strength and durability to the paint.

In the world of painters, had pigments readily available and, therefore, economic and widely used. No clutch, is a thorn, a technical glitches, with a little added economic issue, which had the painters in constant search for a solution until, with the advent of industrial chemistry and manufacture of synthetic pigments, it was finding a solution "Artificial" to the issue. I mean the blue.

Blue is a common color in nature. Blue in the sky, blue sea ... But it does blue pigment can be removed! So the painters sought, for centuries, how to get the color desired for incorporation into their art.

seems that the first to discover how it was the Egyptians, with the "blue Fritta" which was a glaze (silicate copper and calcium) used to bake pottery became blue, then crushed and the powder was used in the paint. Although this technique was also used in ancient Greece and Rome, was disappearing over the years, have that over there the seventh century, and also, I believe, with some blue appearance of more "precious."

And among those who took the witness blue fashion, its blue tones of high beauty, was the pigment from the mineral lapis lazuli. The mines were in the area of \u200b\u200bmodern Afghanistan and also as a semiprecious stone, was expensive to obtain. So, in the same way that the color purple was for many centuries a high-cost color and dye was reserved for the layers of Roman emperors, the blue pigment lapis lazuli also took their fame, their prestige. Its price rose above the gold and painters, if they put blue lapis in a custom box, was prior agreement on how much blue and gold as was to be put.

With this cache had taken the color blue, kings wore blue coats and even had he thought his blood was blue ... although that would be another story that it is better not tell it now. Blue began to get in the middle ages the synonym of distinction or royalty, and the people, the populace did not have easy access to that color.

Azurite, although a little more green, often used also in the Middle Ages as a substitute for lapis since the discovery of mines in central Europe, but with little success because this color is less stable and, over time, tends to blacken. Painters learned methods to differentiate the azurite pigment of lapis lazuli, as in the form of pigment and could be easily confused some traders sought to "bait."

And in the midst of this scarce and expensive access to blue, appears in the exponents of Catalan Romanesque painting a mural painted with striking blue color. Especially emphasizes the Pantocrator from Sant Climent de Taüll and the Virgin of Santa Maria de Taüll, a fresco paintings that occupy the central apse of the temples and, with its imposing majestic shade of blue, royal infers the representation of these divine images. Until

Recently, the idea of \u200b\u200bthe high cost of blue pigment in the average age was hard to think the real reason that promoted Master Taüll to use color in a predominantly blue in these images. In addition, teachers who painted the fresco known that the use of lapis blue, apart from expensive, may fade and degrade quickly with time to interact with a mineral acid, thus avoiding the use of lapis lazuli in the art of painting.

The discovery of ancient deposits Aerinite in the Pyrenean environment has helped solve the puzzle and determine that, although the shades of blue vary depending on the grain extraction Master of Taüll Aerinite used blue, exceptionally, was in the immediate environment.

was not until the discovery of America observed that indigenous synthesized indigo blue, also called indigo from a plant. Colonial exploitation was great marketing this dye, pigment made, provided the blue common to the European population, satisfying the inaccessibility of other blue pigments, until near the nineteenth century.

And from here, with the appearance of the chemical industry begin to synthesize pigments. In particular the synthetic ultramarine was the same as that of lapis lazuli, and later appear in shades of cobalt blue from light to dark (cobalt oxide impurities of aluminum, zinc or chromium), blue and blue celúreo Prussian blue pigments include artificially synthesized.

Blue has been, since Earth has an atmosphere, a color that has bathed the sky and sea with the natural daily. However, for many centuries, has been technically difficult-and expensive-play in the creations pictorial.