azurite, malachite, lapis lazuli, cinnabar, orpiment, realgar, vivianite, pyrolusite
azurite under microscope
Page 2
Properties and Protocols
for Mineral Pigment Preparation
Page 3
Pigments under the Microscope
Page 4
Equipment, Levigation Techniques
Binding Mediums and Tests
© Michael Price Inc.
Page 6
Geometry and Harmonic Rectangles
In December 2007, Michael Price was invited to hold a Symposium on the results of his research into the preparation and
application of the mineral pigments at the Doerner Institute in Munich, Germany.

The main points of the presentation are listed below (German with English translation):

Liebe Kolleginnen und Kollegen,
Der New Yorker Künstler Michael Price, manchem von uns bekannt aus seinen maltechnischen Versuchen, seinem Beitrag in dem Katalogband zu den "Bunten
Göttern", und seinen geometrischen Rekonstruktionsversuchen zu Tintorettos "Maria Himmelfahrt" wird am 03.122007 um 16:00 s. t. im Seminarraum des
Doerner Institutes zu folgendem Thema sprechen:

Dear Colleagues,
The New York artist Michael Price who is known to some of us from his painting research as well as his paper published in the catalogue
'Colourful Gods', and his geometrical reconstruction of the Tintoretto 'Assumption of the Virgin Mary' will give a talk on December 3rd 2007 in
the seminar room at the Doerner Institute. The topic will be:

"The Contemporary Relevance of the Renaissance Palette"
The presentation highlights the artistic merits for using natural and
mineral pigments as opposed to modern synthetic pigments.

The main topics:
1. The preparation and application of the mineral pigments including azurite, natural ultramarine, malachite, cinnabar, stibnite,
pyrolusite, orpiment and realgar. Other historical pigments include
lead-tin yellow, verdigris and the natural root madders.

2. The relationship between the refractive index of a pigment and the choice of binding medium especially with regards to discoloration of paint

3. The question - when is "oil paint" really oil paint and the
resultant assumptions that artists, conservators and restorers make due to such traditional categorizations or ways of thinking about painting.

Der Vortrag knüpft an alte maltechnische Traditionen des Doerner Institutes an, in denen auch Künstler praktische Erfahrungen und praxisbasierte Erfahrungen in
aktuelle maltechnische Forschungen einfließen lassen. Doch mehr dazu am 03.12.! Über eine rege Teilnahme würde ich mich freuen.

The presentation is part of an old tradition at the Doerner Institute
whereby artists with their practical experience contributed to the
ongoing technical issues of painting. - More on 3rd Dec.
I hope to see an active participation.

Mit herzlichen Grüßen
Ihr A. Burmester
Privatdozent Dr. Andreas Burmester
Direktor, Doerner Institut
Bayerische Staatsgemäldesammlungen
Barer Straße 29
D 80799 München
Mineral Pigments; Binding Mediums; Geometry
Page 5
Pigment Application:
painting with the mineral pigments
Page 1 of 6

The images on this page are examples from the two volume book:
"Renaissance Mysteries, Vol. I: Natural Colour and Volume II: Proportion and Composition".

For further information go to:
√3 rectangle
√2 rectangle
Filippino Lippi, Madonna and Child. Date: ca. 1483–84. Tempera, oil, and gold on wood, 81.3 x 59.7 cm.
The Metropolitan Museum of Art, The Jules Bache Collection, 1949.
This example is published in Renaissance Mysteries, Vol. II Proportion and Composition, p.73. < >