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Brown and yellow striped gemstones
A sketch of a woman in cyberpunk clothing, sitting on some coils, in the middles of more coils and printed circuit
A cluster of lovely purple amethyst crystals Photo credit: By Gonzalo Devia - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=34696023
This image shows a bright yellow orpiment rock with the text "Do Not Lick". There is also a red circle with a slash across it with a cartoon of a face licking the rock. There is a warning symbol yellow triangle outlined in black with inset exclamation mark and text, highlighted in yellow reading "Orpiment contains arsenic sulphide!"
Francisco de Goya (1746-1828), The Duke of Wellington (1812-14), oil on mahogany, 64.3 x 52.4 cm, The National Gallery (Bought with aid from the Wolfson Foundation and a special Exchequer grant, 1961), London. Courtesy of and © The National Gallery, London. via https://eclecticlight.co/2018/03/15/pigment-arsenic-orpiment-and-realgar/ The Duke faces left but looks over his shoulder at the viewer. He is in his red coat, with sash and many medals, against a brown background.
Fujieda: Kichô of the Owariya, from the series A Tôkaidô Board Game of Courtesans: Fifty-three Pairings in the Yoshiwara (Keisei dôchû sugoroku/Mitate Yoshiwara gojûsan tsui [no uchi]) 「契情道中双六　見立よしはら五十三つゐ　藤枝　尾張屋内　喜長」 Keisai Eisen (1790–1848) Publisher: Tsutaya Kichizô (Kôeidô) Edo period about 1821–23 (Bunsei 4–6) Other impressions: 11.25543 This beautiful Edo-era woodblock print via the Cameo from the Museum of Fine Arts of Boston, shows a reclined woman in a multiply patterned kimono and complicated hat, next to a stringed instrument, on the floor, with a winter scene painting behind her. It employs orpiment pigment.
Asakusa Kaminarimon Mae (Kameya) Utagawa Hiroshige Japanese ca. 1835–42 Period: Edo period (1615–1868) Date: ca. 1835–42 Culture: Japan Medium: Woodblock print; ink and color on paper Dimensions: H. 9 7/8 in. (25.1 cm); W. 14 3/4 in. (37.5 cm) Classification: Prints Credit Line: Rogers Fund, 1919 Object Number: JP1156 The Met Part of his series of prints, a "lighthearted survey of Edo's famous gastronomic sites includes a punning couplet about each place in the fan-shaped cartouches at the upper right. " This print shows a crowd of people by a gate, near a market and restaurant.
Fragmentary Leaf from an Ashtasahasrika Prajnaparamita Sutra Artist: Unidentified Artist, Kashmiri Date: 12th century Culture: Kashmir or western Tibet Medium: Gold, lapis lazuli, cinnabar, indigo, and orpiment pigments and black ink on paper Dimensions: Image: 8 1/16 × 6 1/2 in. (20.5 × 16.5 cm) Classification: Paintings Credit Line: Gift of Chino Franco Roncoroni, in celebration of the Museum’s 150th Anniversary, 2020 Object Number: 2020.74.2 Curatorial Department: Asian Art, The Met "This painting depicts the personification of the wisdom text Prajnaparamita. She is represented in six-armed form, the central hands are held over the heart in a variation of the dharmacakramudra, whilst her upper hands display the sacred book (pustaka) and the thunderbolt scepter (vajra), whilst her lower hands hold a rosary (mala) and gesture boon granting. She wears golden jewelry on her body and a tripartite diadem adorns herhead, which is framed by a red halo. A girdle, seemingly of strings of pearls, secures her waistcloth, beautifully decorated with large red rosettes in blue hexagonal frames. Slender ribbons fly through the air, one supporting a blue lotus bloom and stem. She is seated in a mediation posture, enthroned on a golden lotus and she is encircled in a rainbow colored nimbus. Particularly noteworthy is the tonal modelling of the bodily forms, heightened with finely controlled orange-red lines. The swelling breasts and constricted waist are hallmarks of the Kashmir style."
Jan Davidsz. de Heem, 'Festoon with Flowers and Fruits' 1670. "This painting features at least four Semper Augustus tulips. These flowers were considered extremely valuable at the time this paintings commission." The bouquet also features morning glory, carnation, purple grapes and red apples and is dramatically lit on a black background. Contains orpiment pigment. Via Wikipedia.
The Pabenham-Clifford Hours England, c. 1315-1320 MS 242 "Folio 2 v Annunciation with John de Pabenham and Joan Clifford kneeling in the lower margin (Hours of the Virgin) Underdrawing for the draperies is visible in the infrared image, as well as through the semi-transparent paint used in the Virgin’s pink mantle. This garment was painted with a mixture of an insect-based red dye, lead white and gypsum (hotspot 1), while Gabriel’s dark pink tunic contains a red dye mixed with chalk (hotspot 2). Gabriel’s blue-grey wings contain azurite blue and small quantities of an organic red, as can be seen under magnification (hotspot 4). The tooled gold leaf in the background was additionally decorated by painting a pattern of spirals with an arsenic sulphide yellow pigment, likely orpiment (hotspot 5)." Via Orpiment Illuminated by the FitzWilliam Museum, Cambridge https://qi.fitzmuseum.cam.ac.uk/illuminated/lab/overview-of-artists-materials/orpiment/type/material
From: Natural and synthetic arsenic sulfide pigments in Japanese woodblock prints of the late Edo period Left: Ono Waterfall on the Kisokaidō (Kisokaidō Ono no bakufu), from the series A Tour of Waterfalls in Various Provinces (Shokoku taki meguri) by Katsushika Hokusai. The Metropolitan Museum of Art, 14 3/4 × 10 1/4 in., Accession Number JP2925. Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939. This print is part of Set A. (right) Ono Waterfall on the Kisokaidō (Kisokaidō Ono no bakufu), from the series A Tour of Waterfalls in various provinces (Shokoku taki meguri) by Katsushika Hokusai. The Metropolitan Museum of Art, 14 7/8 × 10 5/16 in., Accession Number JP1082. This print is part of Set B These beautiful landscape woodblock prints contain orpiment.
Screenshot of a photo of dry orpiment pigment (beautiful rich yellow), a bottle of orpiment pigment (Elmer's glue), and a painted swatch of orpiment pigment (beautiful rich yellow).
Inspired by Song Dynasty Chinese painting this is my linocut portrait of Geng Xiansheng outlined in black on ivory paper, seated at a table with alchemical furnace, vessels cups by a building and bamboo plants covered in snow. She has a flower in her hair and wears a green robe. The vessels are red, and blue. The bamboo is green with black. The roof of the building lintel has a red stripe below a pattern of blue and green.
Nefertiti Bust, Egypt, Tell el-Amarna, New Kingdom, 18th Dynasty, ca. 1351–1334 BC, height: 49 cm; width: 24.5 cm depth: 35 cm; material: limestone, painted stucco, quartz, wax; ref. no. ÄM 23100; find date: 06.12.1912; house P 47.2; room 19, donated by James Simon © Staatliche Museen zu Berlin, Ägyptisches Museum und Papyrussammlung / Sandra Steiß “Life-sized painted bust of the queen, 47 cm high. With the flat-cut blue wig, which also has a ribbon wrapped around it halfway up. Colours as if paint was just applied. Work absolutely exceptional…. Only the ears a[nd] part of the r[ight] side of the wig damaged.”
Paul Cézanne, Bay of l'Estaque 1879-83 Medium: Oil Support: Canvas Size: 60.3 x 74.3 Art period: Post-Impressionism Philadelphia Museum of Art Inventory number: 1963-116-21 Rocks and sky use orpiment. Via ColourLex. This post-impressionist painting shows a view of a curving bay, with trees, rocky shore and below blue-green cloudy skies and some small buildings in the foreground.
Jacopo Tintoretto, Portrait of Vincenzo Morosini ca 1575-80 Date: about 1575-80 Medium: Oil Support: Canvas Size: 85.3 x 52.2 cm Art period: Late Renaissance (Mannerism) National Gallery London Inventory number: NG4004 Via ColourLex The sash and background are painted using orpiment. Morosini is a balding, bearded, skeptical Renaissance gentleman in a fur-lined burgundy robe with gold sash, 3/4 view, against a dark wall with a window of sky and landscape behind him.
Close-up of Edmund the Martyr in the Wilton Diptych, he’s wearing a lovely green-and-ermine medieval cloak and carrying the Viking arrow that killed him
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