The pigment was rapidly adopted in France and Germany, with Jacques-Antoine Vallin’s portrait of Dr Forlenze (1807) being another early example. Courtesy of and © The National Gallery, London. Jacques-Antoine Vallin (c 1751-1833), Dr Forlenze (1807), oil on canvas, 209.6 x 128.3 cm, The National Gallery (Presented by Frédéric Mélé, 1908), London. Once brought to this state, Turner could return to the sketch later and add foreground detail before completing it. This shows how similarly Turner started his oil and watercolour paintings. So far, I believe that the earliest recorded use of Cobalt Blue is in the sky of JMW Turner’s oil sketch of Goring Mill and Church, thought to have been painted in 1806-07. © The Tate Gallery and Photographic Rights © Tate (2016), CC-BY-NC-ND 3.0 (Unported), JMW Turner (1775-1851), Goring Mill and Church (c 1806-07), oil on canvas, 85.7 x 116.2 cm, The Tate Gallery (Part of the Turner Bequest 1856), London. As this preceded the introduction of artificial Ultramarine, Cobalt Blue was quickly introduced into artists’ paints, becoming available in oil paints and watercolours from around 1806-08. Thénard discovered cobalt aluminate in 1803-04, and recognised its potential as a pigment. Over a similar period, artists also used Smalt, made from powdered blue-coloured glass, in which the active pigment is cobalt oxide. Ultramarine Blue is one of the oldest pigments still used in painting, and its history could fill a book. Blues occur in nature in a wide range of chromatic intensity, so having a reliable lightfast deep blue is one of the first requirements for any palette.īlues are also among the most fascinating pigments in terms of their history and use. Blue is not just a primary colour, but the colour of the unclouded sky, of many bodies of water, and by convention of the Virgin Mary’s clothing.
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