Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Blue with gold value

  • Rome 1501. The artist Michelangelo Buonarrotti (1475-1564) left the city to return to Florence, where he left the Santo Entierro painting unfinished.
Michelangeloren 'Ehorzketa Santua' bukatu gabea (arg: National Gallery)

It is possible that the change of city was the cause of the rupture, but taking a look at the unfinished work it is quite obvious that it lacks a color: blue. The most precious color, and the most expensive, for the artists of the time, was the navy blue, and in the religious paintings they used it to color singular elements, mainly for the costumes of Jesus Christ and the Virgin. So the most widespread hypothesis is that young Michelangelo didn't want to pay for sea blue, but he didn't want to use the cheapest blue, and so he left the painting unfinished.

The painter Rafael (1483-1520) used a more economical solution: he painted the basic blue layers with cheaper azurite and only wasted the navy blue in the last layers and touches. But Michelangelo and other artists did not want to take measures of this kind, and, for example, Jan Vermeer (1632-1675), a Dutch man, buries his whole family once to get into the blue sea. There were also artists who tried to fill the blue of the sea with a more common anil in secret, but the revelation of deception brought with it the disqualification of the painter.

The blue sea did not come from the sea, but from the present Sar-i Sang mine in Afghanistan. Until the 18th century, this was the only source of obtaining Lapis Zuli, the main component of the navy blue. The shortage of raw material made the product more expensive, but also the long and painful process of obtaining the pigment. They crushed the lapis azuline into a fine powder; the powder was mixed with melted wax, oil and resin; to finish, the mixture was obtained by kneading with a solution of bleach. Pigment was produced in very small quantities, so navy blue was more expensive than gold.

In 1824, the Société d’Encouragement of France offered a remuneration of 6,000 pounds for anyone who invented a synthetic pigment to replace navy blue. French chemist Jean-Baptiste Guimet and German researcher Christian Gmelin presented their synthetic paintings and finally delivered the award to French. The blue sea of “France” is born and the blue sea of “always” is made. But for some it would never be the same. The natural blue sea is filled with minerals: calcite, pyrite, mica… These deposits make light refractory in many ways, so that the brushstrokes are always different, always unique.


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