User:Papikim/Naples yellow

Naples Yellow
Color coordinates
Hex triplet	#FADA5E
sRGBB (r, g, b)	(250, 218, 94)
HSV (h, s, v)	(48°, 62%, 98%)
CIELChuv (L, C, h)	(88, 81, 70°)
Source	ISCC-NBS
ISCC–NBS descriptor	Brilliant yellow
B: Normalized to [0–255] (byte)

Naples yellow, also called antimony yellow or lead antimonate yellow, is an inorganic pigment that largely replaced lead-tin-yellow and has been used in European paintings since the seventeenth century. While the mineral, orpiment was considered as the oldest yellow pigment, Naples yellow, like Egyptian blue, is one of the oldest known synthetic pigments. Naples yellow existed since ancient Egypt and Mesopotamia, but its use dates back to antiquity, during the late Hellenistic and Roman periods. Prior to its earliest occurrences in European paintings, the pigment was commonly employed in pottery, glazes, enamels, and glass. The pigment ranged in hue from a muted, or earthy, reddish yellow to a bright light yellow. A Latin treatise by Andrea Pozzo refers to the pigment as luteolum napolitanum, which is the first recorded use of the term "Naples yellow," whereas, its English name, first appears in print in 1738. Naples yellow originally referred to its chemical compound, lead antimonate (Pb₂Sb₂O₇), but by the middle of the nineteenth century, a majority of manufacturers had stopped producing pure lead antimonate. Since then, writers and artists have incorrectly used Naples yellow to refer to other lead-based yellows. The related mineral of lead antimonate is bindheimite. However, this natural version was hardly ever employed as a pigment. After 1800, Naples yellow was superseded by chrome yellow (lead chromate) cadmium sulfide, and cobalt yellow.

Portion of the dilead antimonate (Pb₂Sb₂O₇) structure (black = Pb, violet = Sb, red = O). This structure illustrates the complex, polymeric nature of many inorganic pigments.

Adriaen van der Werff, Entombment of Christ, 1703. An early European painting that used Naples yellow.

History

Naples yellow is one of the earliest synthetic pigments that has been used as far back as antiquity and between the sixteenth and fourteenth century BC in ancient Egypt and Mesopotamia. Traces of Naples yellow have been discovered on glass fragments, glazed bricks, and glazed tiles from these ancient civilizations. Since its basic components, such as lead oxide and antimony oxide, had to be chemically manufactured, its early production would have required a high level of knowledge and skill. Early color theorists speculated that Naples Yellow had originated from Naples or Italy's Mount Vesuvius. It was not until the late eighteenth century that Naples Yellow was generally recognized as a synthetic pigment of lead antimonate.

The Italians first adopted Naples yellow as an enamel for tin-glazed pottery, or maiolica, from the beginning of the sixteenth century. The pigment then started to appear in European paintings, and between 1750 and 1850, it had reached a greater popularity in the art world. "Naples yellow" was a phrase that was first used in a treatise on frescos by Andrea Pozzo, published in Rome between 1963 and 1700. There, Pozzo refers to naples yellow as luteolum napolitanum. By 1850, Naples Yellow was sold in a variety of shades, like French Naples yellow. Manufacturers like C. Roberson and Co. produced Naples yellow until 1885. However, its popularity declined and it was progressively replaced by other yellow pigments like lead chromate and cadmium sulfide. Manufacturers today typically produce Naples yellow in combination with other pigments, such as ochre, iron oxide, lead white, titanium white, or zinc white, rather than pure lead antimonate.

Visual Characteristics

Naples yellow is a saturated yellow, occasionally with pink or off-white hues. It has a strong hiding power effectively covers other pigments. Naples yellow is manufactured at a variety of temperatures, each of which affects its hue. A more vibrant lemon-yellow is produced at higher temperatures, whereas an orange-yellow is produced at lower temperatures. Some manufacturers also note that there are six different shades of Naples Yellow, ranging from a greenish yellow to a pinkish orange yellow.

Permanence

Naples yellow is not a stable pigment. It is susceptible to discoloration if it were to be exposed to humid air. George Field forewarned that Naples Yellow can turn to black. Naples Yellow can also potentially lose its qualities if the pigment touches iron. Therefore, rather than using metal, Field advises that artists use a palette knife made of ivory or horn.

Notable Occurrences

Matthias Stom, The Arrest of Christ, c. 1630-1632. The earliest occurrence of Naples yellow in European painting.

Naples yellow was frequently used in ancient times to glaze pottery and glass. One of its earliest discoveries is from a piece of glass at the site of Amenhotep II's palace at Thebes, now housed at the Victoria and Albert Museum in London. Naples yellow has frequently appeared on the palettes of European painters such as Anton Raphael Mengs, Francisco Goya, Jacques-Louis-David, Jean-Auguste-Dominique Ingres, Eugène Delacroix, and Paul Cézanne. The earliest occurrence of Naples yellow in European art is Matthias Stom's Arrest of Christ.

See also

• List of inorganic pigments

Literature

• Wainwright, I.N.M., Taylor, J.M. and Harley, R.D. Lead Antimonate yellow, in Artists’ Pigments. A Handbook of Their History and Characteristics, Vol. 1: Feller, R.L. (Ed.) Oxford University Press 1986, p. 219 – 254

External links

• Naples yellow, ColourLex
• List of colors