WhatsApp usWhy did historic artists use so much blue?
Throughout history, colours have carried layers of meaning and status. Whether they were used in clothing, interiors, decorative objects or fine art, each shade can tell us about their owner and artist. In the late medieval and early renaissance periods, ultramarine was valued as highly as gold. It held a significance that transcended ordinary colour theory, becoming a symbol of wealth and spiritual devotion. For artists and patrons alike, ultramarine was not just a colour, it was a statement of prestige, piety and power.
Above: three paintings with significance use of ultramarine – portrait of Hermann von Wedigh III by Hans Holbein the Younger (1532), Salvator Mundi by Albrecht Dürer (1505) and Madonna and Child by Filippino Lippi (1483-84)
What is Ultramarine?
Ultramarine is a pigment made by grinding the semi-precious stone lapis lazuli into a fine powder. Lapis lazuli has been used in art for thousands of years, originating in Afghanistan and traded across ancient civilizations as early as the third millennium BC.
Its exceptional value stemmed from the laborious process of extraction rather than the lapis lazuli itself. The stone contains both blue and white minerals, refining it into a pigment suitable for oil paint was painstaking and expensive. In the early 19th century, an artificial form of ultramarine was developed, making the pigment more affordable and widely available to artists.
Above: pieces of lapis lazuli and ultramarine pigment samples
The Colour of Status and Faith
While some artists chose colours based on their creative vision, many had to balance artistic intent with the costs of materials and the expectations of their patrons. From the Renaissance through the 19th century, artists relied heavily on commissions. These financial arrangements could influence their choice of colour, in subtle or overbearing ways.
Above: detail of ultramarine on a portrait by Corneille de Lyon, 1540
Ultramarine, whether used lavishly or sparingly, was a deliberate choice. Patrons often reserved it for their most important commissions, such as portraits or devotional pieces. This is why you will often see the Virgin Mary draped in rich blue robes.
The use of ultramarine in ecclesiastical art was viewed as an act of worship, symbolising reverence and sacrifice. Wealthy patrons hoped that by funding such costly paintings, they might gain divine favour. In this context, ultramarine was a ticket to heaven. Beyond paintings, ultramarine was also a hallmark of illuminated manuscripts, enriching intricate designs alongside pigments such as vermilion, verdigris and gold.
Above: Madonna of Humility by Caterino Veneziano (1370), Virgin and Child with the Young Saint John the Baptist by Sandro Botticelli (1490) and Virgin and Child Enthroned (19th century copy)
The Longevity of Ultramarine
Despite its vibrancy, ultramarine can be one of the most fragile pigments in the artist’s palette. It can suffer from what conservators call ultramarine sickness, a form of degradation caused by hydrolysis and oxidation. Over time, this can transform the bright blue into dull grey or yellow hues.
This natural deterioration is unlikely to be treated by conservators, as they cannot ethically overpaint areas of the artist’s original work. However, they can step in to stabilise the paint layer and treat the surface to obtain as bright of a composition as possible – without harming the historic integrity. Discoloured varnish and surface grime can also obscure ultramarine’s true tone, so careful cleaning is often essential for restoring visual balance.
Above: a detail from an altarpiece (after Rubens) from Farnborough abbey, before and after cleaning by our conservation team
Beyond its visual appeal, ultramarine holds enduring significance for what it reveals about art history – from historic economics and spirituality, to the connection between artistic expression and social status.
If you have a painting that requires professional conservation, please fill out the form below. You can also e-mail us via [email protected] or call 0207 112 7576 for more information.
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