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Alizarin Crimson: Cool, slightly bluish-red with a smoky glaze. 19th-century “lake” colour was made by fusing a dye onto a substrate. Only Alizarin Crimson is still commonly used by painters today.
Item #: 7020
Description: Gamblin 1980 Oils - Alizarin Crimson, 37 ml (1.25oz)
Gamblin 1980 Oils - PR83-Alizarin Crimson Gamblin’s approach is different. 1980 colours contain pure
pigments, the finest refined linseed oil, and marble dust (calcium carbonate).
Since oil painting began, these three ingredients have made more affordable
colours. Painters experience true colours without homogenized texture
or muddy colour mixtures. Gamblin's approach to using traditional raw materials and processes ensures that artists experience the luscious working properties they expect from their oil colours. Alizarin Crimson: Cool, slightly bluish-red with a smoky
glaze. 19th-century “lake” colour was made by fusing a dye onto a substrate.
Only Alizarin Crimson is still commonly used by painters today. Modern
synthetic preparations of Alizarin Crimson have better permanence and
lightfastness than the original natural pigment extracted from the madder
plant. Alizarin Crimson, the traditional cool counterpart to
Cadmium Red, is a clear ruby-red with a maroon masstone and a bluish undertone.
It is the artist's principal deep red pigment, is transparent, and has good
tinting strength. When mixed with white, it creates bright, rosy pinks, a
range of purples and violets when mixed with intense blues, can be slow-drying
when used with oils, and is compatible with all other pigments. Permanent Alizarin Crimson mixes well with Ultramarine in
acrylic and watercolour form. Permanent Rose and Quinacridone Rose are possible
alternatives on a watercolour palette. Alizarin Crimson is a popular glazing
colour. Alizarin Crimson is considered fugitive or marginally
lightfast, and the appropriateness of its use in the modern artist's palette is
a subject of debate. There are many concerns regarding its permanence, mainly
when mixed with ochre, sienna, and umber or when used thinly. It is the least
permanent red commonly used by today’s artists. Modern synthetic preparations of Alizarin Crimson have
better permanence and lightfastness than the original natural pigment extracted
from the madder plant. Quinacridone pigments have created a modern hue
that closely matches the original hue. Still, many artists object that the
modern hue's transparency and handling characteristics differ from the
original. Alizarin Crimson can be slightly toxic if it comes into
contact with the skin and may cause some allergies. There is no significant
acute toxicity. The word alizarin comes from the Arabic word al-usara,
meaning juice. The base ingredient of this pigment is the Madder plant (Rubia
Tinctorum). As early as 1500 BC, artisans in Ancient Persia, India, and Egypt
used it for dyes and inks. In 1804, George Field, an English dye maker, developed
Madder Lake by binding madder to alum, a white powder. The German chemist Carl Grabe and Carl Liebermann produced
the first synthetic variety of this pigment, commonly known as Alizarin
Crimson, in 1868. They used anthracene, which significantly improved the
lightfastness. The Colour Index International designation PR83:1 has been used
to identify this synthetic laked pigment.Pigment Composition and Permanence
Properties
Permanence
Toxicity
History
Size
120ml
Brand
Gamblin
Type of Store Credit value
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