The Painter in oil

Blues. - The ultramarine of the old masters is practically unused to-day because of its
cost. But the artificial ultramarines, while not quite of the same purity of color, are
equally permanent, and are in every respect worthy to be used. Of these the brilliant
ultramarine is the nearest in color to the real lapis lazuli. The French ultramarine is less
clear and vivid, but is a splendid deep blue, and most useful. The so-called permanent
blue is not quite so permanent as its name implies, but permanent enough for practical
purposes.
Cobalt blue and cerulean blue are two pigments, one very light and clear, the other
darker, which are made of oxide of the metal cobalt. In oil they are permanent, and do
not change when mixed with other colors. For delicate tints, when the tones are to be
subtly gray yet full of the primary colors, the cobalts are indispensable. You should
always have them on hand, and generally on your palette. Cerulean blue is of less
importance than the other, but in very clear, delicate blue skies it is often the only color
which will get the effect.
Prussian blue possesses the depth and power and quality of color which make it
unique. The greenish tone gives it great value in certain combinations as far as its
tinting effect is concerned. But it is not reliable as a pigment. It changes under various
conditions, and fades with the light. It is not to be depended upon. Antwerp blue, a
weaker kind of Prussian blue, is even more fugitive. It is a pity that these colors will not
stand, but as they will not, we must get along without them.
Indigo has a certain grayish quality which is useful sometimes, but it cannot be placed
among the even moderately permanent colors.
The blacks may be classed as blues, because they will make green if mixed with yellow.
Considered as blues, they are, of course, dense and negative, and should not be too freely
used. But they are all permanent. The only ones we need speak of are ivory black, which
has a reddish cast, and blue black, which is weaker, but lacks the purplish note, which is
often an advantage.
Greens. - We need mention only a few greens. There are numerous greens, of various
degrees of permanence, but is not necessary to speak of all the colors are the market.
You could not use the all if you had them, and we may as well confine ourselves to those
we really need.
Veridian, or emeraude green, is the deepest and coldest of our greens, and is
permanent. It is too cold, and looks even more so at night. In use it needs the addition of
some yellow which holds its own at night, such as yellow ochre, or the painting will be
impossible in gaslight, or even worse under electric light.
Emerald green is the same as the French Veronese green, and is generally permanent.
It is said to turn dark, and does lose some of its brilliancy with time and the effect of
impure air. But there are places where one needs it, especially in sketching, and it is well
to use it sometimes. But bear in mind that it is not absolutely permanent, and as the
quality that it gives, brilliant light green, is the very one it will lose should it change,
don’t expect too much of it.