Marcus Chen
In the 1830s, paint was generally mixed on-site and in small batches, with a short shelf life. Paint could be sorted into two primary categories: oil and distemper. Linseed oil was used as a binder in oil paints, while distemper paints used hide glue and water. These different paints shared the presence of coloured pigment, which generally came from organic sources like the iron oxides of ochre and sienna. The pigments were ground using a muller and slab, similar to a mortar and pestle. The 19th century saw the introduction of new colours and enhanced versions of established pigments, with cobalt blue emerging in 1807, viridian in 1838, and cadmium yellow in 1820. Paint manufacturing also became more mechanised, with steam-powered mills and the use of roller mills, making it easier to produce large quantities of paint.
| Characteristics | Values |
|---|---|
| Paint bases | Oil or water |
| Paint categories | Oil and distemper |
| Binder for oils | Linseed oil |
| Binder for distemper | Hide glue and water |
| Pigments | Iron oxides of ochre and sienna, cobalt blue, viridian, cadmium yellow, cerulean blue, chrome yellow, Prussian blue, chrome orange, ultramarine, zinc white, cobalt violet, emerald green, lead white, carbon black, red lake, vermilion, etc. |
| Pigment sources | Organic, natural materials like minerals, ground insects, etc. |
| Paint preparation | Mixed on-site and in small batches |
| Paint application | Applied on-site |
| Paint shelf life | Short |
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What You'll Learn
Paint was mixed on-site and in small batches
In the 1830s, paint was not readily available to be purchased in tubes at art stores, as it is today. Instead, paint was mixed on-site and in small batches, with each batch generally having a short shelf life. The process of mixing paint involved grinding pigments with a binder to suspend the pigment in the paint. The binder used depended on the type of paint being made—linseed oil for oil-based paints and hide glue and water for distemper paints.
Oil-based paints were primarily used for decorating joinery, while water-based paints were used on ceilings and plaster walls. The pigments used in these paints were generally derived from organic sources, such as the iron oxides of ochre and sienna, which produced colours like yellow ochre and burnt sienna. These pigments were ground using a muller and slab, similar to a mortar and pestle.
The process of creating paint was labour-intensive and time-consuming, requiring painters to carefully mix and grind the pigments to achieve the desired consistency and colour. As such, paint was often mixed in small batches as needed, rather than in large quantities. This practice of mixing paint on-site allowed for customisation and ensured that the paint was fresh and effective.
The 1830s also saw the introduction of new pigments and colours, expanding the palette available to artists and painters. For example, viridian was introduced in 1838, joining other recently discovered colours such as cobalt blue (1807), cadmium yellow (1820), and chrome yellow. These chemically produced colours were vibrant and highly saturated due to the high concentration of pigment in the mix.
While the 1830s paint-mixing process was time-consuming and labour-intensive, it allowed for customisation and creativity in the use of colour. The introduction of new pigments and the practice of mixing paint on-site in small batches contributed to the development of artistic expression and the evolution of painting techniques during this period.
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Oil and distemper were the two primary categories
In the 1830s, paint was a lot different from what we are used to today. It was not readily available in tubes and cans, and the act of painting involved multiple steps, from mixing pigments to applying them to walls. Paints of that time generally had short shelf lives and were mixed as needed in small batches on-site.
Pigments generally came from organic sources like the iron oxides of ochre and sienna to yield colours like yellow ochre and burnt sienna. These pigments were ground using a muller and slab. The muller is a large, handheld stone used to grind the pigment against the slab, similar to a mortar and pestle. In the 1830s, vibrant chemically produced colours like Prussian blue, cobalt blue (introduced in 1807), chrome yellow, and viridian (introduced in 1838) were also available. These brilliant colours gained widespread popularity, with Thomas Jefferson painting the dining room of Monticello chrome yellow, and George Washington using Prussian blue in the west parlour of Mount Vernon.
The 1830s saw a gradual transition toward a wider range of deeper colours and stronger contrasts. This was the time when Victorian architecture was characterised by different styles of houses being popular at the same time. The most popular style was Italianate, but Gothic Revival houses were also common. The colour schemes of the time were not subdued, with reds paired with greens and golds with purples.
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Linseed oil was used as a binder for oil paints
Before the advent of pre-mixed paints in the 1870s, interior house paint was generally mixed on-site and in small batches. These paints were categorised into two types: oil and distemper. Oil paints used linseed oil as a binder to suspend the pigment, while distemper paints mixed pigment with hide glue and water. Linseed oil was created from flax seeds and acted as a binder, holding the pigments together. It could also be used to modify the consistency, drying time, and finish of the paint.
Linseed oil was considered "fat", and was generally used in subsequent layers of paint. This was important if the painter planned to work in multiple layers. If the painting was to be completed in one sitting, with one layer, then linseed oil was unnecessary. The oil could be added to the paint using a palette knife or brush. However, too much linseed oil could make the paint overly glossy and slow down the drying time.
Artists could also use liquin instead of linseed oil, which eliminated the need to work with "fat over lean". Linseed oil could also be used to thin the paint, in the same way that water was used for acrylics or watercolours. It was not recommended to use mineral spirits or turpentine for this purpose, as this could break down the quality of the paint.
There were multiple variations of linseed oil, each with its own characteristics and advantages. Refined linseed oil was the most popular variety, and could be added to paint to thin its consistency and slow the drying time. Cold-pressed linseed oil was extracted without heat and was generally a better quality oil with a quicker drying time. It also made pigments appear glossier. Thickened linseed oil, or stand oil, had the consistency of honey and was ideal for glazing, as it had less of a yellow tint than other types of linseed oil.
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Pigments came from organic sources
In the 1830s, pigments were generally obtained from organic sources, such as the iron oxides of ochre and sienna, yielding colours like yellow ochre and burnt sienna. These pigments were ground using a muller and slab, with the muller being a large, handheld stone used to grind the pigment against the slab, similar to a mortar and pestle. The pigment was then mixed with a binder, such as oil or glue, to form the paint.
The use of organic and natural pigments in paint has a long history, dating back to prehistoric times. Early artists used natural materials such as soil, animal fat, minerals, charcoal, and chalk to create a limited colour palette of red, yellow, brown, black, and white. Ancient civilisations, such as the Egyptians and Chinese, produced pigments on a larger scale and developed advanced techniques for extracting and using natural pigments.
Throughout the Middle Ages and the Renaissance, mineral pigments continued to be the primary source of colour in paint. Pigments were often mixed with egg and water to create a dried protein that bound the pigment to the substrate. By the 15th century, egg was replaced by walnut or linseed oil, which dried slower and offered more versatility.
During the 18th and early 19th centuries, paint was typically mixed on-site and in small batches, with a short shelf life. The main categories of paint were oil-based and distemper, with linseed oil and hide glue/water serving as binders, respectively. It was not until the 19th century that synthetic and petroleum-based pigments were introduced, revolutionising the paint industry and expanding the colour palette available to artists and decorators.
Even today, natural pigments remain popular among artists due to their environmental benefits, purity, and ability to produce vibrant hues. They are used in various art forms, including printmaking, silk painting, and the production of crayons and paper threads for weaving and stitching.
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Paint was ground using a muller and slab
In the 1830s, paint was primarily made on-site and in small batches, with oil and distemper being the two primary categories. Oil paints used linseed oil as a binder, while distemper paints used hide glue and water. The pigments in these paints were derived from organic sources, such as iron oxides that produced colours like yellow ochre and burnt sienna.
To create these paints, the pigments were ground using a muller and slab. The muller is a large, handheld stone that was used to grind the pigment against the slab, similar to how a pestle grinds against a mortar. The modern muller is typically made of glass or stainless steel, although in ancient times, porphyry was the material of choice. It has a flat, ground-glass surface that fits comfortably in the hand, allowing the user to swirl and grind pigments against the slab. The slab is a sheet of glass with a frosted, finely pitted surface that, when worked against the muller, helps encapsulate every particle of pigment in the binder.
The process of grinding paint by hand with a muller and slab remained common until the middle of the 19th century when the mechanical paint mill was introduced. However, the muller and slab continued to be used for grinding small quantities of pigment.
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Frequently asked questions
Oil and distemper. Linseed oil was used as a binder in oil paints, while distemper used hide glue and water.
Pigments were generally made from organic sources such as iron oxides, semi-precious stones, lead, earth, or animal blood.
Pigments were ground using a muller and slab, similar to a mortar and pestle.
Cobalt blue emerged in 1807, followed by cadmium yellow in 1820, and viridian in 1838.
The collapsible tin paint tube, invented in 1841, revolutionized the way paint could be prepared and applied.
