ARTISTS' PIGMENTS INTRODUCTION The study and thought which rightfully should be given the chemistry and technology of artists' colors, oils, varnishes and vehicles unfortunately is often neglected by many artists, and frequently entirely overlooked by amateurs. Too little time has been given in the past to the whys and wherefores of color pigments, their sources, durabilities and compatibilities, with which the artist desires to hand to posterity an interpretation of his ideals. The cry is growing continually stronger over the quick deterioration of some of our best examples of art. Anyone taking more than a passing interest in the world's art creations, cannot help but fear for their welfare during the next decade,-especially when seeing within a few years such changes taking place, as fading, darkening, cracking and wrinkling, among the most representative paintings of the various periods. The disadvantages of the artist of a century ago need be but considered in comparison to what wonders the rapid advance of chemistry has done for our modern artist. Before 1800 the palette was limited to but a few and expensive colors. There were not known the brilliant and permanent Alizarin Lake Colors, and such rich pigments as the Cadmium Yellows, Chromium Greens, Emerald Greens, Permanent Vermilions, Cobalt Greens, etc. Prussian Blue was only discovered in 1704. On the other hand many brilliant but unsafe colors, have modern chemistry to thank for their discovery. The artist must know his colors in order to use but the safest on his palette. Today the artist colorman must frequently offer against his better judgment and knowledge, unsafe colors such as Carmine Lakes, Mauve, etc., and it is regrettable, when such colors are unknowingly used, where permanency is desired. It is to be hoped, the unsafe colors will gradually become extinct owing to lack of demand, as has been the case with a few colors in late years. Some of these colors have caused the inexperienced user many tears of regret. Noteworthy to mention here is the onetime fad or craze for the use of bitumens, with well-known detrimental results. A more intimate knowledge of the materials, which are used in the fine arts, not only stimulates a feeling of greater confidence in their use, but these same materials stand in closer relation to the user, if it be known exactly what their constituents are and that they have been prepared for a definite purpose, in a scientific manner, of carefully selected ingredients. The days of manufacturing secrecy in the production of artists' colors and vehicles should be a thing of the past. At the beginning of the last century many colors were and have since been discovered and each manufacturer guarded his formulas and products in a most careful manner. For example, take the case of Prussian Blue. This color upon discovery was immediately produced by various colormakers and each naturally strove to have it regarded as a specialty of his own. Consequently this color was put on the market under quite an array of names; for instance, Turnbull's Blue, Paris Blue, Saxon Blue, Milori Blue, Chinese Blue, Bronze Blue, Berlin Blue, and lately also, American Blue. Gradually throughout the years that followed, the unuseful colors were discarded, but still many dangerous colors were offered to the profession who were entirely ignorant of their composition or technical qualities. To-day we stand in a position to call chemistry to our aid in deter |