1.
Arizona
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Arizona is a state in the southwestern region of the United States. It is also part of the Western United States and the Mountain West states and it is the sixth largest and the 14th most populous of the 50 states. Its capital and largest city is Phoenix, Arizona is one of the Four Corners states. It has borders with New Mexico, Utah, Nevada, California, and Mexico, Arizonas border with Mexico is 389 miles long, on the northern border of the Mexican states of Sonora and Baja California. Arizona is the 48th state and last of the states to be admitted to the Union. Historically part of the territory of Alta California in New Spain, after being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase, Southern Arizona is known for its desert climate, with very hot summers and mild winters. There are ski resorts in the areas of Flagstaff, Alpine, in addition to the Grand Canyon National Park, there are several national forests, national parks, and national monuments. To the European settlers, their pronunciation sounded like Arissona, the area is still known as alĭ ṣonak in the Oodham language. Another possible origin is the Basque phrase haritz ona, as there were numerous Basque sheepherders in the area, There is a misconception that the states name originated from the Spanish term Árida Zona. See also lists of counties, islands, rivers, lakes, state parks, national parks, Arizona is in the Southwestern United States as one of the Four Corners states. Arizona is the sixth largest state by area, ranked after New Mexico, of the states 113,998 square miles, approximately 15% is privately owned. The remaining area is public forest and park land, state trust land, Arizona is well known for its desert Basin and Range region in the states southern portions, which is rich in a landscape of xerophyte plants such as the cactus. This regions topography was shaped by volcanism, followed by the cooling-off. Its climate has hot summers and mild winters. The state is well known for its pine-covered north-central portion of the high country of the Colorado Plateau. Like other states of the Southwest United States, Arizona has an abundance of mountains, despite the states aridity, 27% of Arizona is forest, a percentage comparable to modern-day France or Germany. The worlds largest stand of pine trees is in Arizona
2.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
3.
Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
4.
John Singer Sargent
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John Singer Sargent was an American artist, considered the leading portrait painter of his generation for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and his oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. His parents were American, but he was trained in Paris prior to moving to London and his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work and he lived most of his life in Europe. Art historians generally ignored the society such as Sargent until the late 20th century. Before Sargents birth, his father, FitzWilliam, was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854, after Johns older sister died at the age of two, his mother, Mary, suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives, although based in Paris, Sargents parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, Sargent was born there in 1856. A year later, his sister Mary was born, after her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wifes entreaties to remain abroad. They lived modestly on an inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world, four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, as his father wrote home, He is quite a close observer of animated nature. His mother was convinced that traveling around Europe, and visiting museums and churches. Several attempts to have him formally schooled failed, owing mostly to their itinerant life, Sargents mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions, young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his sons interest in ships and the sea might lead him toward a naval career, at thirteen, his mother reported that John sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist, at the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, accomplished in art, music
5.
Barbizon school
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The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870 and it takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of school are its tonal qualities, color, loose brushwork. In 1824 the Salon de Paris exhibited works of John Constable and his rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events, during the Revolutions of 1848 artists gathered at Barbizon to follow Constables ideas, making nature the subject of their paintings. The French landscape became a theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, in The Gleaners, for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the complete the main harvest. The owners and their laborers are seen in the back of the painting, Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces, the womens bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, while there he met the members of the Barbizon school, Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, in the 1870s those artists, among others, developed the art movement called Impressionism and practiced plein air painting. Both Théodore Rousseau and Jean-François Millet died at Barbizon, painters in other countries were also influenced by this art. Beginning in the nineteenth century, many artists came to Paris from Austria-Hungary to study the new movements. For instance, the Hungarian painter János Thorma studied in Paris as a young man, in 1896 he was one of the founders of the Nagybánya artists colony in what is now Baia Mare, Romania, which brought impressionism to Hungary. Marlatt Adolphe Joseph Thomas Monticelli Eugène Boudin Antonio Fontanesi American Barbizon school Art colony Naturalism landscape art Macchiaioli Catalogues des Collections des Musees de France, media related to Barbizon School at Wikimedia Commons Hecht Museum Cambridge Art Gallery
6.
Hudson River School
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The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. Neither the originator of the term Hudson River School nor its first published use has been fixed with certainty, the term is thought to have originated with the New York Tribune art critic Clarence Cook or the landscape painter Homer Dodge Martin. As originally used, the term was meant disparagingly, as the work so labeled had gone out of favor after the plein-air Barbizon School had come into vogue among American patrons and collectors. Hudson River School paintings reflect three themes of America in the 19th century, discovery, exploration, and settlement, the paintings also depict the American landscape as a pastoral setting, where human beings and nature coexist peacefully. They took as their inspiration such European masters as Claude Lorrain, John Constable and their reverence for Americas natural beauty was shared with contemporary American writers such as Henry David Thoreau and Ralph Waldo Emerson. Several painters were members of the Düsseldorf school of painting, others were educated by the German Paul Weber, while the elements of the paintings were rendered realistically, many of the scenes were composed as a synthesis of multiple scenes or natural images observed by the artists. During these expeditions, the artists recorded sketches and memories, returning to their studios to paint the works later. The artist Thomas Cole is generally acknowledged as the founder of the Hudson River School, Cole took a steamship up the Hudson in the autumn of 1825, the same year the Erie Canal opened, stopping first at West Point, then at Catskill landing. He hiked west high up into the eastern Catskill Mountains of New York State to paint the first landscapes of the area, the first review of his work appeared in the New York Evening Post on November 22,1825. At that time, only the English native Cole, born in a landscape where autumnal tints were of browns and yellows, coles close friend, Asher Durand, became a prominent figure in the school as well. An important part of the popularity of the Hudson River School was its celebration of its themes of nationalism, nature, however, its leading artists, such as Thomas Cole, were also suspicious of the economic and technological development of the age. Works by artists of this generation are often described as examples of Luminism. In addition to pursuing their art, many of the artists, including Kensett, Gifford, most of the finest works of the Hudson River school were painted between 1855 and 1875. During that time, artists such as Frederic Edwin Church and Albert Bierstadt were celebrities and they were both influenced by the Düsseldorf school of painting, and Bierstadt had studied in that city for several years. When Church exhibited paintings such as Niagara or Icebergs of the North, thousands of people lined up around the block and paid fifty cents a head to view the solitary works. The epic size of the landscapes in these paintings, unexampled in earlier American painting, reminded Americans of the vast, untamed, such works were being painted during the period of settlement of the American West, preservation of national parks, and establishment of green city parks. One of the largest collections of paintings by artists of the Hudson River School is at the Wadsworth Atheneum in Hartford, Johnsbury Athenaeum, in St. Johnsbury, VT Westervelt Warner Museum of American Art, in Tuscaloosa, AL Thyssen-Bornemisza Museum, in Madrid, Spain. New York, The Metropolitan Museum of Art, avery, Kevin J. & Kelly, Frank
7.
John Constable
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John Constable, RA was an English Romantic painter. Born in Suffolk, he is principally for his landscape paintings of Dedham Vale. I should paint my own places best, he wrote to his friend John Fisher in 1821, painting is and his most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art and he did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England, John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a corn merchant, owner of Flatford Mill in East Bergholt and, later. Golding Constable owned a ship, The Telegraph, which he moored at Mistley on the Stour estuary. He was a cousin of the London tea merchant, Abram Newman, although Constable was his parents second son, his older brother was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, made me a painter, and I am grateful, the sound of water escaping from mill dams etc. willows, old planks, slimy posts. He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, in 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended classes and anatomical dissections. Among works that inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci. He also read widely among poetry and sermons, and later proved a notably articulate artist, by 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, Constables usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips further afield, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east ports, and in 1806 he undertook a two-month tour of the Lake District
8.
Edgar Degas
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Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
9.
Macchiaioli
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This practice relates the Macchiaioli to the French Impressionists who came to prominence a few years later, although the Macchiaioli pursued somewhat different purposes. The movement originated with a group of artists, many of whom had been revolutionaries in the uprisings of 1848. In the late 1850s, the artists met regularly at the Caffè Michelangiolo in Florence to discuss art and they also found inspiration in the paintings of their French contemporaries of the Barbizon school. They believed that areas of light and shadow, or macchie were the components of a work of art. In its early years the new movement was ridiculed, a hostile review published on November 3,1862 in the journal Gazzetta del Popolo marks the first appearance in print of the term Macchiaioli. The artists did, in fact, paint much of their work in these wild areas, although the Macchiaioli have often been compared to the Impressionists, they did not go as far as their younger French contemporaries in the pursuit of optical effects. Erich Steingräber says the Macchiaioli declined to divide up their palette into the components of the colour-spectrum and this is why their pictures lack the all-penetrating light that eclipses colours and contours and gives rise to the vibrism peculiar to Impressionist painting. The independent identity of the figures is unimpaired. In this view the Macchiaioli emerge as being very much embedded in their fabric and context, literally fighting alongside Giuseppe Garibaldi on behalf of the Risorgimento. The Macchiaioli did not follow Monets practice of finishing large paintings entirely en plein air, many of the artists of the Macchiaioli died in penury, only achieving fame towards the end of the 19th century. Today the work of the Macchiaioli is much known in Italy than elsewhere, much of the work is held, outside the public record. Another exhibition of the Macchiaioli was held at the Terme Tamerici in Montecatini, Italy, the Musée de lOrangerie in Paris mounted an exhibition of the Macchiaioli April 10 – July 22,2013. Hudson River School Barbizon School Caffè Michelangiolo Boime, Albert, the Art of the Macchia and the Risorgimento. Chicago and London, The University of Chicago Press, the Macchiaioli, Italian Painters of the Nineteenth Century. New Haven and London, Yale University Press, ISBN 0-300-03547-0 Steingräber, E. & Matteucci, G. The Macchiaioli, Tuscan Painters of the Sunlight, March 14-April 20,1984, new York, Stair Sainty Matthiesen in association with Matthiesen, London. OCLC70337478 Turner, J. Grove Dictionary of Art, ISBN 0-19-517068-7 Panconi, T. Antologia dei Macchiaioli, La trasformazione sociale e artica nella Toscana di metà800. I Macchiaioli, Il Nuovo dopo la Macchia
10.
Toothpaste
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Toothpaste is a paste or gel dentifrice used with a toothbrush as an accessory to clean and maintain the aesthetics and health of teeth. Salt and sodium bicarbonate are among materials that can be substituted for commercial toothpaste, in addition to 20–42% water, toothpastes are derived from a variety of components, the three main ones being abrasives, fluoride, and detergents. Abrasives constitute at least 50% of a typical toothpaste and these insoluble particles help remove plaque from the teeth. The removal of plaque and calculus helps minimize cavities and periodontal disease, representative abrasives include particles of aluminum hydroxide, calcium carbonate, various calcium hydrogen phosphates, various silicas and zeolites, and hydroxyapatite. Abrasives, like the dental polishing agents used in dentists offices, some brands contain powdered white mica, which acts as a mild abrasive, and also adds a cosmetically pleasing glittery shimmer to the paste. The polishing of teeth removes stains from tooth surfaces, but has not been shown to improve dental health over and above the effects of the removal of plaque, the abrasive effect of toothpaste is indicated by its RDA value. Too high RDA values should be considered critical, and some dentists recommend toothpaste of an RDA value no higher than 50 for daily use, Fluoride in various forms is the most popular active ingredient in toothpaste to prevent cavities. Fluoride occurs in small amounts in plants, animals, and some water sources. The additional fluoride in toothpaste has beneficial effects on the formation of dental enamel, sodium fluoride is the most common source of fluoride, but stannous fluoride, olaflur, and sodium monofluorophosphate are also used. Stannous fluoride has been shown to be effective than sodium fluoride in reducing the incidence of dental caries and controlling gingivitis. Much of the toothpaste sold in the United States has 1,000 to 1,100 parts per million fluoride, in European countries, such as the UK or Greece, the fluoride content is often higher, a NaF content of 0. 312% w/w is common. Many, although not all, toothpastes contain sodium lauryl sulfate or related surfactants, SLS is found in many other personal care products, as well, such as shampoo, and is mainly a foaming agent, which enables uniform distribution of toothpaste, improving its cleansing power. Despite the different ingredients included in the toothpaste, recent study indicates that brushing with or without toothpaste has no impact on the level of plaque removal, triclosan, an antibacterial agent, is a common toothpaste ingredient in the United Kingdom. Triclosan or zinc chloride prevent gingivitis and, according to the American Dental Association, helps reduce tartar, a 2006 review of clinical research concluded there was evidence for the effectiveness of 0. 30% triclosan in reducing plaque and gingivitis. Toothpaste comes in a variety of colors, and flavors intended to use of the product. Three most common flavorants are peppermint, spearmint, and wintergreen, Toothpaste flavored with peppermint-anise oil is popular in the Mediterranean region. These flavors are provided by the oils, e. g. peppermint oil. More exotic flavors include Anethole anise, apricot, bubblegum, cinnamon, fennel, lavender, neem, ginger, vanilla, lemon, orange, hydroxyapatite nanocrystals and a variety of calcium phosphates are included in formulations for remineralization, i. e. the reformation of enamel
11.
Pigment
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A pigment is a material that changes the color of reflected or transmitted light as the result of wavelength-selective absorption. This physical process differs from fluorescence, phosphorescence, and other forms of luminescence, many materials selectively absorb certain wavelengths of light. Materials that humans have chosen and developed for use as pigments usually have properties that make them ideal for coloring other materials. A pigment must have a high tinting strength relative to the materials it colors and it must be stable in solid form at ambient temperatures. For industrial applications, as well as in the arts, permanence, pigments that are not permanent are called fugitive. Fugitive pigments fade over time, or with exposure to light, pigments are used for coloring paint, ink, plastic, fabric, cosmetics, food, and other materials. Most pigments used in manufacturing and the arts are dry colorants. This powder is added to a binder, a neutral or colorless material that suspends the pigment. A distinction is made between a pigment, which is insoluble in its vehicle, and a dye, which either is itself a liquid or is soluble in its vehicle. A colorant can act as either a pigment or a dye depending on the vehicle involved, in some cases, a pigment can be manufactured from a dye by precipitating a soluble dye with a metallic salt. The resulting pigment is called a lake pigment, the term biological pigment is used for all colored substances independent of their solubility. In 2006, around 7.4 million tons of inorganic, organic, asia has the highest rate on a quantity basis followed by Europe and North America. By 2020, revenues will have risen to approx, the global demand on pigments was roughly US$20.5 billion in 2009, around 1. 5-2% up from the previous year. It is predicted to increase in a growth rate in the coming years. The worldwide sales are said to increase up to US$24.5 billion in 2015, pigments appear the colors they are because they selectively reflect and absorb certain wavelengths of visible light. White light is an equal mixture of the entire spectrum of visible light with a wavelength in a range from about 375 or 400 nanometers to about 760 or 780 nm. When this light encounters a pigment, parts of the spectrum are absorbed by the molecules or ions of the pigment, in organic pigments such as diazo or phthalocyanine compounds the light is absorbed by the conjugated systems of double bonds in the molecule. Some of the inorganic pigments such as vermilion or cadmium yellow absorb light by transferring an electron from the ion to the positive ion
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Media related to Plein air at Wikimedia Commons