`Permanent' Alizarin Crimson

The impermanence or `fugitive' qualities of the popular Alizarin Crimson PR83 were discussed last week. Actually there is no such thing as a `Permanent' version because all such alternatives are not Alizarin Crimson but different pigments. They ought really to be described as `Alizarin Crimson Hue', the key word being `hue'. Those paints intended as alternatives to the Cadmiums are thus described. Handprint gives a very comprehensive treatise on pigments but my intention is to try and simplify things and not give readers a headache. Actually, although some of these alternatives are described as similar or identical in hue, none quite compare to the original. This is possibly why it remains popular and still widely available. Apart from Daniel Smith no one comes out and says it is fugitive although in the case of Winsor & Newton, Rowney and some others - not all - the star rating is lower. Who reads the small print on the tubes anyway? It is frequently so small that it is difficult to find let alone read.

Generally speaking most basic palettes start with warm and cool versions of yellow, red and blue. This isn't always so but is probably the most popular. With regard to the red Alizarin Crimson was often - but not always - selected as the cool red so this is what we are looking to replace. The basic three paint primary colours, often called `printers colours', are Primary Yellow, Magenta and Cyan. Note this is not just `yellow, red and blue'.

Winsor & Newton recommend Permanent Rose (PV19) as one of the three primary colours, adding Scarlet Lake (PR188) when increased to six. Although they list a `Permanent Alizarin Crimson' it is a mixture of an unlisted pigment, usually written as PR N/A, and PR206 otherwise known as Brown Madder. Bruce McEvoy suggests Permanent Carmine as a better bet, no PR206.

 Some of the pigments/paints mentioned in the text. The top row and the right hand vertical one don't have much variation but note the difference between the Rowney version of Perylene Maroon PR179 (Note added 27/05/11. I am in error here. The Rowney PR179 is called Perylene Maroon and is similar to the Graham hue. The paint shown Quinacridone Magenta, is PR122) and that of Graham next to it. Note also Quinacridone Red PR209 as made by Graham and Daniel Smith. Differences in manufacturing processes, and also variations in the same pigment supplied by different sources,  are the probable cause. Note also the Cotman and Venezia student quality paints. Are they weaker than the artist quality?

What `Permanent Alizarin Crimsons' are there?

Winsor & Newton. Already described, a mix of PR N/A and PR206.

Rowney. Alizarin Crimson , correctly described as a `hue' (the original fugitive version is also still listed). A mixture of PR209 and PR179.

Graham. Permanent Alizarin Crimson (PR264), also list the original.

Lukas. Alizarin Crimson (PR176).

Daniel Smith. Permanent Alizarin Crimson a three pigment mix of PR177, PV19 and PR149.

Holbein. Permanent Alizarin Crimson. PR N/A presumably similar to the W & N Permanent Carmine.

Da Vinci. Alizarin Crimson (PV19).

PV19 Quinacridone Rose/Red and Violet - there are three versions - has become one of the most popular pigments and is increasingly appearing in manufacturers ranges, both as single pigment paints and in mixtures. Confusing?

According to Bruce Mc Evoy of Handprint the problem with the reds is that in general his tests show they mostly - even the newer colours - have `marginal' lightfastness.

Many artists won't want to get too involved with this stuff and I can understand that, although personally I find it fascinating as well as informative. IF you are interested then have a look at the Handprint section on paints. Bruce recommends a mixture of Perylene Maroon (PR179) and Quinacridone Magenta (PR122) as a better bet than most of the above.