A Pigment Once More Expensive Than Gold

Ultramarine blue is a vibrant, deep blue pigment that has been highly valued in art for centuries. Originally created by grinding the semi-precious stone lapis lazuli—translated as "blue stone" in Latin—this pigment was once more expensive than gold. Due to its high cost and the labor-intensive process required to produce even a small amount, ultramarine was often reserved for the most important elements of a painting, such as the robes of the Virgin Mary in religious works.

The creation of ultramarine blue was a painstaking process, making it a symbol of status and wealth. Patrons commissioning art would often agree to a separate budget solely for ultramarine, ensuring its use in their commissions. The pigment's association with wealth and importance elevated its status even further.

In the 19th century, the demand for a more affordable version of this coveted pigment led to innovation. In 1826, French chemist Jean-Baptiste Guimet developed a synthetic alternative at a fraction of the cost. This new pigment, known as French Ultramarine, was made from a mix of clay, soda, charcoal, quartz, and sulfur.

A few fun facts about ultramarine blue:

  • It is said that Michelangelo couldn’t afford ultramarine, and that his painting, The Entombment, was left unfinished as a result of not being able to procure the pigment.

  • Ultramarine blue was one of the only 10 pigments that Vermeer used in his iconic painting Girl with a Pearl Earring.

  • Other well-known paintings featuring ultramarine blue include:

    • Woman with a Bowl, painted by Vermeer in 1638–1639

    • Starry Night, painted by Vincent van Gogh

    • The Umbrellas, painted by Renoir

    • Water Lilies, painted by Monet

  • When you see a strong blue in an old master painting, it is almost certainly ultramarine blue.

Ultramarine blue is a very versatile color, adding depth to paintings. With its slightly purplish undertone, it can be used effectively in combination with many other colors. It is also notable for its stability and resistance to fading over time, making it a favorite among artists working with oils, watercolors, and acrylics.

As William Gass beautifully put it in his book On Being Blue, "Blue occurs everywhere: in ice and water, in the flame as purely as in the flower, overhead and inside caves, covering fruit and oozing out of clay. Yet we can’t handle or touch the blue of the flame any more than we can bottle the blue of the sky."

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