• French Ultramarine was created in 1826 by Jean-Baptiste Guimet, a chemist, as a synthetic alternative to the rare and expensive natural ultramarine derived from lapis lazuli. Guimet’s process involved heating kaolin, sulfur, sodium carbonate, and other minerals to produce a deep, vibrant blue pigment with excellent lightfastness and transparency. Ultramarine quickly became a favorite among artists for its intense hue, affordability, and consistency in oil, watercolor, and acrylic painting.
  • French Ultramarine Pigment
  • French Ultramarine Pigment
  • The painting was rapidly executed, with the garden path laid in first and the flower border worked over its edges. The white ground is left uncovered in places and the brushwork is loose, with the thick purples, blues and greens applied with bold, even crude strokes. The effects may have been partly the result of the double cataracts, which at this date were altering Monet’s vision. It is not clear whether the artist regarded the picture as finished, since it remained in his studio at his death.
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French Ultramarine Pigment

French Ultramarine Pigment

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Description

French Ultramarine is a synthetic single pigment created through a controlled process that replicates the deep, vibrant blue of natural ultramarine made from lapis lazuli. This pigment is produced by heating kaolin, sulfur, and sodium carbonate, forming a rich blue with exceptional chroma and purity. It has a strong granulating texture and a warm undertone, making it a favorite among painters for both traditional and modern applications.

French Ultramarine has excellent lightfastness, making it ideal for long lasting artwork. It blends beautifully with other pigments, creating deep shadows and soft atmospheric effects. Compared to natural ultramarine, this synthetic version provides a more affordable and consistent alternative while maintaining its unique luminous quality. Its semi-translucent nature allows for smooth layering and glazing in oil, watercolor, and tempera applications.

History

French Ultramarine was developed in the 19th century as a more accessible alternative to natural ultramarine, which had been one of the most expensive and sought after pigments for centuries.

During antiquity and the Middle Ages, ultramarine was made from crushed lapis lazuli, primarily sourced from Afghanistan. Due to its rarity, it was often reserved for sacred artwork and the most prestigious commissions, such as the robes of the Virgin Mary in Renaissance paintings.

In 1826, French chemist Jean-Baptiste Guimet successfully created the first synthetic ultramarine, which replicated the vibrant hue of natural lapis but at a fraction of the cost. The new pigment was quickly adopted by artists across Europe, providing an affordable yet brilliant blue that could be used more freely in painting.

By the 19th and 20th centuries, French Ultramarine became a staple pigment in the palettes of Impressionist and Modernist painters. Artists such as Vincent van Gogh and Claude Monet frequently used it to achieve rich skies, shadows, and vivid contrasts in their work. In the pictured artwork 'Irises' by Monet, the vibrant blue of French ultramarine is used throughout for strong blues and violet mixes along with cobalt blue and cobalt violet.

Today, French Ultramarine remains one of the most widely used blue pigments in fine art and commercial applications, valued for its depth, versatility, and historical significance.

Pigment Information

Pigment Type: Synthetic (Silicate based)
Source: Lab created ultramarine blue
Origin: France (19th century)
Suitable Mediums: Watercolor, Oil, Tempera, Acrylic
Lightfastness: Excellent
Opacity: Semi-translucent
Other Names: Synthetic Ultramarine, Guimet's Blue, Ultramarine Blue
Color Index Code: PB29
Image: 'Irises' by Monet from the National Gallery

Health and Safety

  • For art use only. Not for cosmetic, food or children's use.
  • Keep out of reach of children and pets. Do not eat, drink or smoke while working.
  • Avoid creating or breathing dust. Work in a ventilated area and wear a NIOSH approved dust respirator (P100 or better) when handling dry pigment.
  • Wear gloves and eye protection. Wash hands and work surfaces after use, and never rinse pigment into drains.
  • Do not spray apply, sand or burn.
  • If swallowed or if you feel unwell, contact a poison control center (U.S. 1-800-222-1222) or a doctor.
  • Safety Data Sheet available on request.
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Kathy C.

Arrived quickly. Shop owner answered questions before purchase