"1708, Frisch began to promote and sell the pigment across Europe. By August 1709, the pigment had been termed ""Preussisch blau""; by November 1709, the German name ""Berlinisch Blau"" had been used for the first time by Frisch. Frisch himself is the author of the first known publication of Prussian blue in the paper ""Notitia Coerulei Berolinensis nuper inventi"" in 1710, as can be deduced from his letters. Diesbach had been working for Frisch since about 1701. To date, the ""Entombment of Christ"", dated 1709 by Pieter van der Werff (Picture Gallery, Sanssouci, Potsdam) is the oldest known painting where"
"modern Synthetic pigment, and an important invention, because at that time the alternative blue pigments were either not very successful or affordable for large scale use. The pigment was first mentioned in a letter, the first of several, from Frisch to the president of the Royal Academy of Sciences, Gottfried Wilhelm Leibniz, dated March 1708. By August 1709, the pigment was being referred to as ""Preussisch blau"" and by November of that year, as ""Berlinisch Blau"". Johann Jacob Diesbach Johann Jacob Diesbach () was a Swiss pigment and dye producer known for first synthesizing a blue pigment known as Prussian"
"policy which requires students system-wide to wear white tops and navy blue bottoms. During the 17th and 18th centuries, chemists in Europe tried to discover a way to create synthetic blue pigments, avoiding the expense of importing and grinding lapis lazuli, azurite and other minerals. The Egyptians had created a synthetic colour, Egyptian blue, three thousand years BC, but the formula had been lost. The Chinese had also created synthetic pigments, but the formula was not known in the west. In 1709 a German druggist and pigment maker named Johann Jacob Diesbach accidentally discovered a new blue while experimenting with"
"and dried cochineal. Instead, the blood, potash, and iron sulfate reacted to create a compound known as iron ferrocyanide, which, unlike the desired red pigment, has a very distinct blue hue. It was named ""Preußisch blau"" and ""Berlinisch Blau"" in 1709 by its first trader. The pigment replaced the expensive lapis lazuli and was an important topic in the letters exchanged between Johann Leonhard Frisch and the president of the Prussian Academy of Sciences, Gottfried Wilhelm Leibniz, between 1708 and 1716. It is first mentioned in a letter written by Frisch to Leibniz, from March 31, 1708. Not later than"
"Dippel, who had used it to produce his ""animal oil"". No other known historical source mentions Dippel in this context. It is, therefore, difficult to judge the reliability of this story today. In 1724, the recipe was finally published by John Woodward. In 1752, French chemist Pierre J. Macquer made the important step of showing Prussian blue could be reduced to a salt of iron and a new acid, which could be used to reconstitute the dye. The new acid, hydrogen cyanide, first isolated from Prussian blue in pure form and characterized in 1782 by Swedish chemist Carl Wilhelm Scheele,"
"potassium and iron sulphides. The new colour was first called Berlin blue, but later became known as Prussian blue. By 1710 it was being used by the French painter Antoine Watteau, and later his successor Nicolas Lancret. It became immensely popular for the manufacture of wallpaper, and in the 19th century was widely used by French impressionist painters. Beginning in the 1820s, Prussian blue was imported into Japan through the port of Nagasaki. It was called ""bero-ai"", or Berlin blue, and it became popular because it did not fade like traditional Japanese blue pigment, ""ai-gami"", made from the dayflower. Prussian"
"(Though not always acknowledged as an organometallic compound, Prussian blue, a mixed-valence iron-cyanide complex, was first prepared in 1706 by paint maker Johann Jacob Diesbach as the first coordination polymer and synthetic material containing a metal-carbon bond.) The abundant and diverse products from coal and petroleum led to Ziegler-Natta, Fischer-Tropsch, hydroformylation catalysis which employ CO, H, and alkenes as feedstocks and ligands. Recognition of organometallic chemistry as a distinct subfield culminated in the Nobel Prizes to Ernst Fischer and Geoffrey Wilkinson for work on metallocenes. In 2005, Yves Chauvin, Robert H. Grubbs and Richard R. Schrock shared the Nobel Prize"
"Naples yellow Naples yellow, also called antimony yellow, is an inorganic pigment used paintings during 1700-1850. Colors range from a muted, or earthy, reddish yellow pigment to a bright light yellow. It is the chemical compound lead antimonate (PbSbO). Also known as jaune d'antimoine, it is one of the oldest synthetic pigments, dating from around 1620. The related mineral is bindheimite. However, this natural version was rarely, if ever, used as a pigment. The mineral orpiment is the oldest yellow pigment, but Naples yellow, is the oldest clear yellow pigment of synthetic origin. The first recorded use of ""Naples yellow"""
"In 1716 Neumann return briefly to Germany in the entourage of George I. While there, he returned to Berlin and made connections that ultimately resulted in his appointment as the Royal Court Apothecary, when he completed his European travels in 1719. He held this post for the rest of his life. He was elected a Fellow of the Royal Society in 1726. In 2009, Alexander Kraft established that it was Caspar Neumann who conveyed the secret formula for preparing the first synthetic pigment, Prussian blue, to the Royal Society in England in 1723. Caspar Neumann (chemist) Caspar Neumann (or Neuman)"
"with yellow, red, and blue plates.[2] While in Amsterdam he became acquainted with Arnold Houbraken, who quoted him as a source of information on German painters for his ""Schouburg"", later published after Houbraken's death in 1718. Le Blon's wife died in 1716 and in 1717 he moved to London where he received royal patents for the three-color printing process and a three-color tapestry weaving process. The tapestry process involved using white, yellow, red, blue, and black fibers to create images.[3] The printing process involved using three different intaglio plates, inked in different colours. In 1722 he published a small book,"
"and acetoacetanilide or their derivatives. The class of compounds was discovered in Germany in 1909. Members of this class include: Arylide yellow Arylide yellow, also known as Hansa yellow and monoazo yellow, are a family of organic compounds used as pigments. They are primarily used as industrial colorants including plastics, building paints and inks. They are also used in artistic oil paints, acrylics and watercolors. These pigments are usually semi-transparent yellows and yellow-greens. Related organic pigments are the diarylide pigments. Overall, these pigments have partially displaced the toxic cadmium yellow in the marketplace. Painters such as Alexander Calder and Jackson"
"Epoch) at the Gallery Apollinaire, Milan, (January 1957), featured 11 identical blue canvases, using ultramarine pigment suspended in a synthetic resin 'Rhodopas'. Discovered with the help of Edouard Adam, a Parisian paint dealer, the effect was to retain the brilliance of the pigment which tended to become dull when suspended in linseed oil. Klein later patented this recipe to maintain the ""authenticity of the pure idea."" This colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings, was to become famous as 'International Klein Blue' (IKB). The paintings were attached to poles placed 20 cm"
"was used to describe blue pigments, particularly mixtures of copper and cobaltous oxides, like azurite and smalt. These early attempts to create sky blue colours were often less than satisfactory due to a limited saturation and the tendency to discolour in reaction with other pigments. See also Tekhelet. The pigment Cerulean blue was discovered in 1789 by the Swiss chemist Albrecht Höpfner. Subsequently there was a limited German production under the name of ""Cölinblau"". It was in 1860 first marketed in the United Kingdom by colourman George Rowney, as ""coeruleum"". Other nineteenth century English pigment names included ""ceruleum blue"" and"
"by starting with diethylaniline rather than dimethylaniline, he could synthesize the closely related violet dye now known as C.I. 42600 or C.I. Basic violet 4. The name ""gentian violet"" (or ""Gentianaviolett"" in German) is thought to have been introduced by the German pharmacist Georg Grübler, who in 1880 started a company in Leipzig that specialized in the sale of staining reagents for histology. The gentian violet stain marketed by Grübler probably contained a mixture of methylated pararosaniline dyes. The stain proved popular and in 1884 was used by Hans Christian Gram to stain bacteria. He credited Paul Ehrlich for the"
"Pittacal Pittacal was the first synthetic dyestuff to be produced commercially. It was accidentally discovered in 1832 by German chemist Carl Ludwig Reichenbach, who is also recognized as being the discoverer of kerosene, phenol, eupion, paraffin wax and creosote. According to history, Reichenbach applied creosote to the wooden posts of his home, in order to drive away dogs who urinated on them. The strategy was ineffective, however, and he noted that the dog's urine reacted with creosote to form an intense dark blue deposit. He named the new substance píttacal (from Greek words ""tar"" and ""beautiful""). He later succeeded in"
"1845 he founded in Bonn, ""Marquart's Lager chemischer Utensilien"", a factory that produced fine chemicals and pharmaceuticals. Today the operation in Bonn is part of Evonik; thus making it one of the oldest producers of chemicals in Germany. In 1835 Marquart is credited for coining the chemical term ""anthocyanin"" to denote the blue pigment of the cornflower. In 1842, Justus Carl Hasskarl named the genus ""Marquartia"" (family Pandanaceae) in his honor. Ludwig Clamor Marquart Ludwig Clamor Marquart (29 March 1804 – 10 May 1881) was a German pharmacist and entrepreneur born in Osnabrück. As a teenager, he was a pharmacist’s"
"as a color name in English was in 1738. The source of this color is: Color Sample of Naples Yellow (color sample #83), ""ISCC-NBS Dictionary of Color Names"" (1955). After 1800, Naples Yellow discontinued, being replaced by chrome yellow (lead chromate), cadmium sulfide, and cobalt yellow. Naples yellow Naples yellow, also called antimony yellow, is an inorganic pigment used paintings during 1700-1850. Colors range from a muted, or earthy, reddish yellow pigment to a bright light yellow. It is the chemical compound lead antimonate (PbSbO). Also known as jaune d'antimoine, it is one of the oldest synthetic pigments, dating from"
"blue, only slightly sensitive to green, and virtually insensitive to red. The discovery of dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to green, yellow and even red. Improved color sensitizers and ongoing improvements in the overall sensitivity of emulsions steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability. Autochrome, the first commercially successful color process, was introduced by the Lumière brothers in 1907. Autochrome plates incorporated a mosaic color filter layer made of dyed grains of potato starch, which allowed the three color components"
"seat cushion in the foreground had degraded and become paler with time; it would have been a deeper blue when originally painted. The beginning of the development of artificial ultramarine blue was known from Goethe. In about 1787, he observed the blue deposits on the walls of lime kilns near Palermo in Italy. He was aware of the use of these glassy deposits as a substitute for lapis lazuli in decorative applications. He did not, however, mention if it was suitable to grind for a pigment. In 1814, Tassaert observed the spontaneous formation of a blue compound, very similar to"
"Aureolin Aureolin (sometimes called Cobalt Yellow) is a pigment sparingly used in oil and watercolor painting. Its color index name is PY40 (40th entry on list of yellow pigments). It was first made in 1848 by Nikolaus Wolfgang Fischer in Breslau and its chemical composition is potassium cobaltinitrite. The investigation by Gates gives the exact modern procedures for the preparation of aureolin and also the methods for its identification in paintings. Aureolin is rated as permanent in some reports but there are other sources which rate it as unstable in oils but pronounce it stable in watercolors. Others find it"
"at the Gallery Apollinaire, Milan, (January 1957), featured 11 identical blue canvases, using ultramarine pigment suspended in a synthetic resin 'Rhodopas', described by Klein as ""The Medium"". Discovered with the help of Edouard Adam, a Parisian paint dealer, the optical effect retained the brilliance of the pigment which, when suspended in linseed oil, tended to become dull. Klein later deposited a Soleau envelope for this recipe to maintain the ""authenticity of the pure idea."" This colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings, was to become known as International Klein Blue (IKB). The"
"blue-purple in alkaline solutions. The pH for titration of calcium is 11.3. Justus von Liebig and Friedrich Wöhler in Giessen, Germany, had investigated the purple product, murexide, obtained from snake excrement in the 1830s, but this was not an abundant raw material, and a method of using it as a dyestuff was not established at that time. In the 1850s, French colorists and dye-producers, such as Depoully in Paris, succeeded in making murexide from abundant South American guano and of applying it to natural fibers. It was then widely adopted in Britain, France and Germany. Murexide is used in analytical"
"producing pure pittacal by treating beechwood tar with barium oxide and using alumina as a mordant to the dye's fabrics. Although sold commercially as a dyestuff, it did not fare well. Eupittone (derived from eu- + pittacal + -one) is a yellow crystalline substance resembling aurin, and obtained by the oxidation of pittacal. It is also called also eupittonic acid or eupitton. Kaufmann, GB - Pittacal—the first synthetic dyestuff. ""J. Chem. Edu."", 753, 1977. Pittacal Pittacal was the first synthetic dyestuff to be produced commercially. It was accidentally discovered in 1832 by German chemist Carl Ludwig Reichenbach, who is also"
"a slight antimalarial property. Methylene blue and its congeners may act by preventing the biocrystallization of heme. In 1848, German anatomist Johann Heinrich Meckel recorded black-brown pigment granules in the blood and spleen of a patient who had died in a mental hospital. Meckel was thought to have been looking at malaria parasites without realizing it; he did not mention malaria in his report. He hypothesized that the pigment was melanin. The causal relationship of pigment to the parasite was established in 1880, when French physician Charles Louis Alphonse Laveran, working in the military hospital of Constantine, Algeria, observed pigmented"
"perhaps, a reference to the first syllable of Mornauer's surname. After the portrait was acquired by the National Gallery in 1990, scientific analysis revealed significant later alterations to the painting; the size of the hat had been reduced, and the background had been changed from wood grain to bright blue. These changes can be dated between about 1720 and 1790s (on one hand, the pigment Prussian blue used for the background was invented in 1704–1710 and only became widely used in the 1720s; on the other hand, the painting was probably in the present state when it entered the collection"
"Azulene Azulene is an organic compound and an isomer of naphthalene. Whereas naphthalene is colourless, azulene is dark blue. Two terpenoids, vetivazulene (4,8-dimethyl-2-isopropylazulene) and guaiazulene (1,4-dimethyl-7-isopropylazulene), that feature the azulene skeleton are found in nature as constituents of pigments in mushrooms, guaiac wood oil, and some marine invertebrates. Azulene has a long history, dating back to the 15th century as the azure-blue chromophore obtained by steam distillation of German chamomile. The chromophore was discovered in yarrow and wormwood and named in 1863 by Septimus Piesse. Its structure was first reported by Lavoslav Ružička, followed by its organic synthesis in 1937"
"emigrated to Europe. At the end of the 19th century, lead white was still the most popular pigment; but between 1916 and 1918, chemical companies in Norway and the United States began to produce titanium white, made from titanium oxide. It had first been identified in the 18th century by the German chemist Martin Klaproth, who also discovered uranium. It had twice the covering power of lead white, and was the brightest white pigment known. By 1945, 80 percent of the white pigments sold were titanium white. The absoluteness of white appealed to modernist painters. It was used in its"
"production. Friedländer isolated and analyzed the natural dyestuff of Tyrian purple. He was able to obtain 12,000 ""Murex brandaris"" from biologists working at the Mediterranean sea. In a complicated process, he isolated 1.4 g of pure Tyrian purple. Contrary to his expectations, the compound did not contain sulfur, but was a bromine substituted indigo, which had been already synthesized back in 1903. Friedlander was awarded the Lieben Prize for this discovery. In 1911, Friedländer abandoned his position in Vienna and joined the University of Darmstadt. The University was not far from the dye factories Chemische Fabrik Kalle, Höchst and Cassella"
"is found similar to that of tetrahelicene. Azulene Azulene is an organic compound and an isomer of naphthalene. Whereas naphthalene is colourless, azulene is dark blue. Two terpenoids, vetivazulene (4,8-dimethyl-2-isopropylazulene) and guaiazulene (1,4-dimethyl-7-isopropylazulene), that feature the azulene skeleton are found in nature as constituents of pigments in mushrooms, guaiac wood oil, and some marine invertebrates. Azulene has a long history, dating back to the 15th century as the azure-blue chromophore obtained by steam distillation of German chamomile. The chromophore was discovered in yarrow and wormwood and named in 1863 by Septimus Piesse. Its structure was first reported by Lavoslav Ružička,"
"From then until 1852 he worked for a chemical company, but was dismissed by a resentful manager and died fifteen years later in poverty. His chemical work included purine chemistry, the identification of caffeine, the first coal tar dye (aniline blue), coal tar products (and a large number of substances that derive from coal tar), paper chromatography, pyrrole, chinoline, phenol, thymol and atropine. He was the first to notice in 1855 the phenomenon of ""Liesegang rings"". He observed them in the course of experiments on the precipitation of reagents in blotting paper. Friedlieb Ferdinand Runge Friedlieb (or Friedlob, occasionally misnamed"
"introduced the new technology of in vivo staining. One of his findings was that pigments can only be easily assimilated by living organisms if they are in granular form. He injected the dyes alizarin blue and indophenol blue into laboratory animals and established after their death that various organs had been colored to different degrees. In organs with high oxygen saturation, indophenol was retained; in organs with medium saturation, indophenol was reduced, but not alizarin blue. And in areas with low oxygen saturation, both pigments were reduced. With this work, Ehrlich also formulated the conviction which guided his research: that"
"were discovered by accident in 1886. Antifebrine's success inspired Carl Duisberg, the head of research at the small dye firm Friedrich Bayer & Company, to start a systematic search for other chemical fever-reducers. Bayer chemists soon developed Phenacetin, followed by the sedatives Sulfonal and Trional. Upon taking control of Bayer's overall management in 1890, Duisberg began to expand the company's drug research program. He created a pharmaceutical group for creating new drugs, headed by former university chemist Arthur Eichengrün, and a pharmacology group for testing the drugs, headed by Heinrich Dreser (beginning in 1897, after periods under Wilhelm Siebel and"
"mentions: Sir William Boog Leishman of London and Karl Reuter of Germany independently discovered in 1901 what is considered ""Perhaps the most practical modifications of Malachowski’s stain"" They adopted the best aspects of the stains developed by Malachowski and Jenner, i.e., they used both polychromed methylene blue (accidentally done by Romanowsky who got the name, systematically done by Ernst Malachowski even before Romanowsky, and rediscovered by Bernhard Nocht, but unknown to Jenner, May, Grunwald and many others who used simple methylene blue) and filtering the Azure Eosinate precipitate from the aqueous mixture and redissolving in an alcoholic solvent (Jenner's wisdom)."