Annotated Bibliography for Pieces of Paint, a website at

Organized by relevance.

Lucy Green


April 23, 1016

(Finlay 2007)

This is a book that launched the project. Although scientifically thin, the narratives in this book are great examples of the compelling nature of the origin of a product. Currently most pigment is synthetically produced and one idea of a visualization is a tree beginning with a pigment’s known origin, including map, cost (in 2010$), leading to current composition (if synthetic, composition if it can be done without getting too chemistryish), ultimately leading to binder composite (different FORS reading per binder, per pigment) and current costs.  COOL.

I’d like one focus to be on Water-solvent oil paints and other commonly used artistic binders not on any kind of industrial paint, or outdoor paint.

(“Modern Paints Uncovered” 2016)

Ah!  This symposium is chock full of great data and information and is a beginning to earn the scientific gravitas the project will need. Much of it is focused on house paint but within also describes the light objective of pigment.  This paper breaks ‘modern’ paint into bits. Unfortunately only covering acrylic in great detail as an artists paint, but also various house paints.  There is research to be gleaned here though.  Jackpot for Water-solvent oils************ Pg 53, Performance and properties of water mixable oil colour compared with other oil based paints by Winsor & Newton.

Behavior and Properties p.225

(Cosentino 2013)

The open source conservation website that is a door to FORS information.

(rmbordalo ; Kremer Pigments Inc. NYC )

The database that I’m using to assess various binders for various pigments as well as the pigment source that was used for the pigments tested.  This is the NYC retail web site but the pigment origin is Germany.

(Lambourne and Strivens 1999)

This is book that I don’t yet have my hands on but looks like it might solve some of the scholarly questions; chemical binder components/reaction. It gets heavily into industrial paint (boats, cars) but I think it may be worth the time it will take for interlibrary loan to find it, or for me to get to MIT.

(“The Painter’s Handbook” 2016)

This book has a moment of interest on pg. 134 that describes the visual effect of binders on pigment.

(“What Are Earth and Mineral Pigments? | Unearthed - Non-Toxic, Eco-Friendly, Biodegradable Natural Paints” 2016)

A website for a retail pigment resource that has good information of origin and can be one source for an accurate current price scale.

(09/05/ 2016) This citation has a date to mark the web page, as created by Gamblin.

This is the Gamblin production web site which has a wealth of knowledge on color space but also, actually ESPECIALLY an embedded video created by Robert Gamblin about mixing renaissance paint, serving as a ‘colorman’ for the Smithsonian. !  

(Carlyle and Leslie 1993)

Perhaps a left turn, but an interesting one, this article’s focus is on the adulteration of artist materials in the 19th century… the swap of expensive pigment for cheaper substitues.

Alphabetical Citations:

Scholarly Literature:

Finlay, Victoria. 2007. Color: A Natural History of the Palette. Random House.

Lambourne, R., and T. A. Strivens. 1999. Paint and Surface Coatings.

“Modern Paints Uncovered.” 2016. Google Books. Accessed February 27.

“The Painter’s Handbook.” 2016. Google Books. Accessed February 27.

Magazines, Journals:

Carlyle, Leslie, and Carlyle Leslie. 1993. “Authenticity and Adulteration: What Materials Were 19th Century Artists Really Using?” The Conservator 17 (1): 56–60.


09/05/16, David Curry Http://www Designlatitudes Com. 2016. “Gamblin Artists Colors: Navigating Color Space (NCS).” Accessed February 27.

Cosentino, Antonino. 2013. “FORS.” Cultural Heritage Science Open Source. December 16.

“What Are Earth and Mineral Pigments? | Unearthed - Non-Toxic, Eco-Friendly, Biodegradable Natural Paints.” 2016. Accessed February 27.

“Gamblin Artists Colors: Navigating Color Space (NCS)” 2014. Gamblin.

Paint and Coatings Industry A History of Pigment use in Western Art, Part 2. October 1, 2004, New York.