In the world of art, colours are the building blocks of creativity. They evoke emotions, convey meaning, and add depth to a piece. However, not all colours are created equal. Some colours are more fleeting, more ephemeral, and more temperamental than others. These are the fugitive colours, and understanding their nature is crucial for artists who want to harness their power.
What are Fugitive Colours?
Fugitive colours are pigments that are prone to fading, shifting, or changing over time. They are often derived from organic sources, such as plants, insects, or minerals, and are characterised by their instability. These colours can be affected by light, temperature, humidity, and even the passage of time, causing them to alter their appearance in unexpected ways.
The History of Fugitive Colours
Fugitive colours have been used in art for centuries, with some of the most famous examples found in Renaissance-era paintings. Artists like Michelangelo and Leonardo da Vinci used fugitive colours to create subtle, nuanced shades that added depth and emotion to their works. However, as the pigments began to fade or change over time, the original intent of the artist was lost.
The Science Behind Fugitive Colours
Fugitive colours are often the result of chemical reactions that occur when pigments interact with their environment. For example, the pigment Prussian blue, made from ferric ferrocyanide, can fade or turn greenish over time due to exposure to light or oxygen. Similarly, the pigment rose madder, derived from the root of the madder plant, can shift from a deep red to a pale pink as it ages.
Why Fugitive Colours Matter in Art
So why do artists continue to use fugitive colours despite their unpredictable nature? The answer lies in their unique properties and the emotional resonance they evoke. Fugitive colours can add a sense of impermanence and fragility to a piece, reminding us that art, like life, is fleeting and ephemeral. They can also create a sense of mystery and intrigue, as the viewer is forced to consider the passage of time and the changing nature of the artwork.
Working with Fugitive Colours
For artists who want to harness the power of fugitive colours, there are several techniques to keep in mind. First, it’s essential to understand the properties of each pigment and how they will interact with their environment. Second, artists can use fugitive colours in combination with more stable pigments to create a sense of tension and contrast. Finally, embracing the unpredictability of fugitive colours can lead to unexpected and exciting results.
Famous Examples of Fugitive Colours in Art
Some of the most famous examples of fugitive colours in art can be found in the works of the Old Masters. For example, the painter Johannes Vermeer used fugitive colours to create the soft, luminous glow in his paintings of domestic scenes. Similarly, the painter Claude Monet used fugitive colours to capture the fleeting effects of light and colour in his Impressionist paintings.
Conservation and Restoration
As fugitive colours can fade or change over time, conservators and restorers face a unique challenge in preserving and restoring artworks that feature these pigments. Specialised techniques and materials are used to slow down the aging process and maintain the original intent of the artist.
Conclusion
Fugitive colours are a reminder that art is a living, breathing entity that changes and evolves over time. They add a layer of complexity and depth to a piece, inviting the viewer to consider the passage of time and the nature of creativity. Whether you’re an artist or simply an art lover, understanding the elusive nature of fugitive colours can enrich your appreciation of the artistic process.
Additional Resources
- For more information on fugitive colours and their properties, check out the website of the pigment manufacturer, Winsor & Newton.
- The book “The Art of Colour” by Johannes Itten provides a comprehensive guide to color theory and the use of fugitive colours in art.
- The National Gallery of Australia’s conservation department has a wealth of information on the preservation and restoration of artworks featuring fugitive colours.
Here is a list of some common fugitive colours:
- Rose Madder: A red-purple pigment derived from the root of the madder plant, which can fade to a pale pink over time.
- Prussian Blue: A dark blue pigment made from ferric ferrocyanide, which can fade or turn greenish due to exposure to light or oxygen.
- Scheele’s Green: A vibrant green pigment made from oxides of copper and arsenic, which can fade or turn yellowish over time.
- Carmine: A red pigment derived from the cochineal insect, which can fade or change colour over time.
- Tyrian Purple: A deep purple pigment extracted from the secretions of the murex snail, which can fade or change colour over time.
- Gamboge: A yellow pigment derived from the sap of the gambodge tree, which can fade or darken over time.
- Dragon’s Blood: A red pigment derived from the sap of the dragon tree, which can fade or change colour over time.
- Lake Pigments: A range of colours made from dyes precipitated onto an inert substrate, which can fade or change colour over time.
- Caput Mortuum: A reddish-brown pigment made from the oxidation of iron oxide, which can fade or change colour over time.
- Vermilion: A bright red pigment made from the mineral cinnabar, which can fade or darken over time.
Please note that this is not an exhaustive list, and there are many other fugitive colours used in art. Additionally, some modern pigments may be more stable and less prone to fading or colour shift than their historical counterparts.
