The conspicuous colour blue: Lapis Lazuli in the history of art / Ernesto Carlos Pujazon Patron and Jose Domingo Elias

Colour plays a fundamental role in human perception and its effects on cognition and behaviour have intrigued generations of researchers. The intent of this two-part paper is to provide a wider understanding of the history and evolution from its early beginnings. It also analyses the diverse characteristics of plant-based colours and minerals that produce this intriguing colour called, ‘blue’. Although a large amount of research has been conducted in this domain, the psychological processes through which colour operates, have not been explored comprehensively. As a result, the field has observed certain conflicting results. The first part of this article studies the colour ‘blue’ as a pigment. Besides, it also offers some early development of the colour ‘blue’ in the light spectrum set by the initial developments in the history of science. The second part examines how ‘blue’ has long proven a problem for artists. There are a few materials that are blue in their natural state, that can serve as pigments for painters. During the Renaissance period, artists used a pigment called natural ultramarine (Lapis-Lazuli), lauded for its rich and striking appearance to capture the great beyond, this mineral was introduced by Venetian merchants and brought originally from the mines of Afghanistan, located in the remote province of Badakhshan. It is very common when religion, science, and the arts meet to apply philosophies which are interwoven around historical and social events to present science as human, relevant and a lively endeavour. Finally, this paper brings to a conclusion a short briefing of the works of two of the most expressive artists, Giotto and Titian, and the usage of lapis lazuli - (Ultramarine) in the development of their colour palette.