As I have posted before, we artists are at the mercy of much larger industries in terms of what art materials we have at out disposal. The art materials industry is minuscule compared to textiles, architecture, automotive, etc. It does not have enough clout to leverage economies of scale.
Without these larger industries to manufacture our pigments and other materials for us, these things would be much more expensive for us than they are. Without them, artists might have to actually make and mull their own pigments again – as artists and their apprentices from past centuries have done, as I and others have at times done.
A few pigments are still made by the art materials industry, for instance Winsor & Newton’s Rose Madder Genuine, and those tend to be the more expensive colors. But the vast majority of them are not made for artists at all. We just buy the leftovers from the bigger boys, and that’s how we get our pigments on the cheap.
To some extent, this has always been true. Even in the Middle Ages, the copper blue pigment (blue verditer) that was used by artists was manufactured as a by-product of silver production. But it is truer at this point in history than it ever has been before.
One of the results of this situation is that when a pigment is no longer deemed useful for the larger industries, its manufacture will cease. Cerulean blue (PB35), for example, may wind up on the chopping block at some point. If it does, it will not matter that many artists love this color: it will go away, for all except those who have managed to stockpile some for themselves.
This has happened to a pigment I happen to love: ultramarine green, PG24. PG24 is not considered useful any longer to the large industries, and as far as I can learn it has stopped being made. It is an extinct pigment.
It used to be available as a tube color in oil from Rembrandt. But the tube they call “Ultramarine Green” is no longer PG24, but a convenience mix of PB29 and PY129. It used to be available as a powder pigment from Kremer. No more. (They still have some of their PG24 watercolor pans left, I believe.)
In the next post, I will post some pictures to show what this wonderful pigment looks like, and why I love it so much and was so sorry to see it go – and what might be done to bring its production back online.
In the meantime, here is a closeup of a painting I did a couple of years ago, in which PG24 was used extensively, especially for that aqua foam on the water. To be continued!