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Indanthrone is utilized as a blue pigment (C.I. Pigment Blue 60), primarily in the process of vat dyeing, often referred to as C.I. Vat Blue 4. [8] Indanthrone is a vat dye, synthesized to provide highest color fastness for the dyeing and printing of predominantly cellulose-based textile fibers. Fabrics dyed with indanthrene fulfill the highest ...
The first anthraquinone-based synthetic vat dye was indanthrone (C.I. Vat Blue 4) - the synthesis of which was developed by René Bohn in 1901: Synthesis of indanthrone By dimerization of 2-aminoanthraquinone ( 1 ) under strongly alkaline conditions at 220-235 °C, intermediate stage 3 is obtained in two steps, which is cyclized ...
This is an accepted version of this page This is the latest accepted revision, reviewed on 16 January 2025. Variety of the color blue For other uses, see Shades of Blue (disambiguation). "Shade of Blue" redirects here. For the song by Black Rebel Motorcycle Club, see Shade of Blue (song). For the R&B/funk band, see Shade of Blue (band). Blue Wavelength 440–490 nm Common connotations ...
Cobalt blue pigment. Blue pigments are natural or synthetic materials, usually made from minerals and insoluble with water, used to make the blue colors in painting and other arts. The raw material of the earliest blue pigment was lapis lazuli from mines in Afghanistan, that was refined into the pigment ultramarine.
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Ultramarine is a deep blue color pigment which was originally made by grinding lapis lazuli into a powder. [2] Its lengthy grinding and washing process makes the natural pigment quite valuable—roughly ten times more expensive than the stone it comes from and as expensive as gold.
Raphael was a master of this technique, carefully balancing the reds and the blues so no one colour dominated the picture. [74] Ultramarine was the most prestigious blue of the Renaissance, being more expensive than gold. Wealthy art patrons commissioned works with the most expensive blues possible.
Blue, particularly ultramarine pigment made from ground lapis lazuli remained significant for depictions of the divine through the Renaissance. Pre-industrial revolution painters in Europe used ultramarine almost exclusively for the robes of Mary because of the pigment's great expense, until the work of Jean-Baptiste Guimet and Christian Gmelin ...