WhatsApp usVerdigris is a vivid green pigment formed through the natural corrosion of copper, brass or bronze. It’s the same striking green patina you might see naturally occurring across sculptures or weathered architectural details. In paintings, verdigris was deliberately created and applied to achieve its distinctive translucent hue, a colour prized for its brilliance and complexity, though notoriously difficult to control.
Above: detail from Portrait of a Man by the workshop of Quinten Massys showing the degrading green background
As one of the earliest forms of synthetic pigment, verdigris was produced by exposing copper plates to vapours (such as vinegar) which caused a blue-green crust to form. This was then scraped off, ground and mixed with binders for application as paint or a gilding material. The name ‘verdigris’ comes from the Old French vert-de-Grèce, meaning “green of Greece” due to the patina seen on ancient bronze statues.
Verdigris was ideal for building colour in a composition due to its opaque quality. It could be layered over blues or yellows to achieve luminous tones. However, its reactive nature made it challenging to work with. Verdigris could darken, discolour or even damage other pigments and materials nearby.
Verdigris in Paintings
Verdigris was a favourite among the Old Masters, who admired its vivid, jewel-like green. It can be found in the works of Jan van Eyck who layered it delicately to achieve lifelike foliage and fabrics in his oil paintings and Leonardo da Vinci who experimented with it in mixtures to capture the shifting tones of nature.
Above: detail from Madonna and Child by Vittore Crivelli with Two Angels, 1481-82
Venetian masters Titian and Veronese used verdigris to enrich their palettes, blending it with blues and yellows to create atmospheric depth and glowing highlights. Masterpieces that use verdigris include the Ghent Altarpiece by Van Eyck and The Adoration of the Magi by Botticelli. However, the original green glaze has often darkened with age.
Above: detail from Christ Blessing by Andrea Solario, 1524
In the 19th century, verdigris was still favoured by some painters for its brilliance, notably in botanical illustrations and decorative arts, but it was gradually replaced by more stable synthetic greens, such as emerald green (copper acetoarsenite) and later viridian (hydrated chromium oxide). However, the Pre-Raphaelite movement often used verdigris for glazing effects or to evoke a sense of antiquity.
Protecting Verdigris
Despite its beauty, many historic artworks now show areas of brown or black where verdigris has oxidised. Exposure to moisture, acids or sulphur compounds could cause verdigris to darken or corrode the paint beneath it.
Conservators today must handle verdigris with care. They cannot reverse the chemical degradation and change in colour, but they can stabilise the material and clean discoloured surface with a carefully tested method to reveal the pigment’s surviving brilliance. Below is an example from our team where surface cleaning and varnish removal has allowed the green robe and veil to return.
There are preventative steps that can be taken in cases where the verdigris is present but currently stable. This includes providing low light levels and a relative humidity of around 50%.
Due to the metallic nature of the pigment, it is important that it avoids moisture. Contact with water can remove the colour as well as accelerate the breakdown of the binder. Verdigris with this type of colour loss may begin to appear as a grey, dark green or brown tone.
Above: detail from a 16th century painting by Jan van Coninxloo showing signs of decay to the original pigments
Our experts recommend the following steps to protect paintings that contain a verdigris pigment:
- Avoid humidity and damp conditions. Keep artworks in a dry environment with relative humidity around 50%
- Maintain stable temperatures. Fluctuating heat or cold can accelerate chemical changes and cause the pigment to oxidise or affect nearby colours.
- Limit exposure to acidic or sulphurous air. Verdigris can darken in the presence of acidic vapours, wood fumes or pollution. Avoid displaying paintings near open fireplaces or freshly varnished furniture.
- Keep out of direct sunlight. UV light can weaken old varnish layers and contribute to pigment degradation, so use UV-filtering glass or curtains to protect works on display.
- Never use household cleaners, solvents or water. This can dissolve or disturb fragile verdigris layers.
- Consult a professional conservator. If the paint appears discoloured, powdery or flaking, seek expert advice. Our conservators can stabilise the painting safely and recommend appropriate storage or display for ongoing maintenance.
When handled with care, verdigris pigments can remain stable and visually striking for centuries, preserving the delicate green tones that once captivated the Old Masters.
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