Perplexing Pigments

Well, my mind has been spinning with thoughts of pigments and the process of grinding paints. Many many times over the years I have made paints but never on this broad scale using solely pigments from a certain period, like this one, the 17th  Century. After speaking with the Conservation Department at the National Gallery last week, I know great caution must be employed while using some specific pigments. Some might have to be purchased in tube form rather than grinding in my studio setting. They suggested wearing a respirator, gloves, and smock while working in a garage or other space such as this. Doors open, no wind. The National Gallery suggested grinding first in turps to just wet the dry pigment so that it is no longer airborne (the most dangerous state) then grinding in oil. The turps will then evaporate.

Perhaps making a dust proof box with a glass see-through top of some sort where I can stick my hands into a pair of gloves but still have mobility might work. Will this even be logical? I am not sure. Maybe just grinding the safe pigments and purchasing the pre-ground unsafe ones will be the best idea. Kremer Pigments, Sinopia, Zecchi’s, Natural Pigments, Studio Products, and Robert Doak specialize in the historic pigments.

I still have many of the splendid pigments purchased at Zecchi’s in Florence while in Italy in 2003, so I don’t need to buy too many more. But it will be necessary to replenish my supply in a few months.

The earth colors, lapis, black, madder, and a few others are safe to use (of course using precautions). However, vermilion, lead-tin yellow, and lead white are not to be trifled with. There are so many decisions to make. Fortunately, I have a good glass muller and sand blasted glass plate for the actual grinding. I must check my empty-tube supply and purchase more if needed.