THE STORY OF VIRIDIAN

The history of Viridian green pigment can be traced back to the mid-19th century. In 1859, a chemist named Guignet discovered a new pigment while experimenting with chromium compounds. He found that by heating a mixture of potassium dichromate and hydrated chromium oxide, he could create a new pigment with a bright, bluish-green colour. He named the pigment "Guignet's Green" after himself.

However, the pigment was not stable and would quickly fade when exposed to light. It was not until the 1860s that a French chemist named Pannetier discovered a way to stabilise the pigment by adding iron oxide to the mixture.

However, the pigment was not stable and would quickly fade when exposed to light. It was not until the 1860s that a French chemist named Pannetier discovered a way to stabilise the pigment by adding iron oxide to the mixture.

The Development of Viridian

Once viridian green pigment was discovered, it quickly gained popularity among artists and designers. The pigment was easy to work with and could be mixed with other colours to create a range of shades and hues. It was also highly durable, making it ideal for use in paintings and other artworks that would be exposed to light and other environmental factors.

Over time, the production of viridian green pigment improved as new manufacturing processes were developed. In the early 20th century, synthetic versions of the pigment were created that were even more stable and durable than the original pigment. These new versions of the pigment were also more affordable, making them accessible to a wider range of artists and designers.

Famous works featuring Viridian

In "A Sunday Afternoon on the Island of La Grande Jatte," Seurat makes extensive use of the colour viridian in his painting. Seurat used viridian to capture the various shades of green in the trees and grass of the park, as well as in the clothing of some of the figures in the painting. The use of viridian creates a sense of harmony and unity within the painting, as the colour is repeated throughout in varying shades and intensities.

Additionally, Seurat's use of viridian is part of his larger pointillist technique, where he used small dots or points of colour to create an image. By layering different dots of viridian on top of each other, Seurat was able to create the illusion of depth and dimension in the painting.

Overall, the use of viridian in "A Sunday Afternoon on the Island of La Grande Jatte" is an integral part of Seurat's artistic vision and technique, contributing to the sense of harmony and unity in the painting and helping to create a vibrant and dynamic image of an idyllic park scene.

Manet's use of viridian in "The Balcony" serves to create a sense of depth and distance within the painting. The color helps to distinguish the background from the foreground, with the viridian leaves appearing further away than the figures in the foreground.

He use of Viridian is subtle but effective, contributing to the sense of space and perspective in the painting. Unlike Seurat, who used viridian as a primary colour to create a sense of unity and harmony, Manet used it sparingly to create a sense of depth and distance in the scene.

Green is often associated with growth, life, and renewal, and the use of viridian in the painting may be a nod to the changes taking place in Paris during the 1860s. This was a time of great social and political upheaval in France, and the use of it here may be a way for Manet to comment on these changes and the hope for a better future.

Overall, the use of viridian in this masterpiece is a powerful example of how colour can be used to create meaning and atmosphere in a work of art.