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Saint Isaac's Cathedral, Saint Isaac's Square, Saint Petersburg, Russia

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Saint Isaac's Cathedral, Saint Petersburg, Russia

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Saint Isaac's Cathedral, Saint Petersburg, Russia

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The iconostasis in Saint Isaac's Cathedral in Saint Petersburg is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite.

Michael N., 2nd Athens Model JHS, Greece

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Κοιλάδα των Βασιλέων, Luxor, Αίγυπτος

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Sofia M. - Alexandra Oik.,

2nd Model Junior High School of Athens, Greece

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Pompei, Νάπολη, Ιταλία

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Sofia M. - Alexandra Oik.

2nd Model Junior High School of Athens, Greece

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Sofia M. - Alexandra Oik.

2nd Model Junior High School of Athens, Greece

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Girl with the pearl earring (Mauritshuis, The Hague, Netherlands)

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Girl with the pearl earring (Mauritshuis, The Hague, Netherlands)

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Michael N., 2nd Athens Model JHS, Greece

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Music in the Tuileries, Monet, Paris, France

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Music in the Tuileries, Monet, Paris, France

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Antonia M, Antonia B,

2nd Model Junior High School of Athens, Greece

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ΑΠΟΣΤΟΛΟΥ ΠΑΥΛΟΥ 34, Παλιοκαμάριζα 190 01, Ελλάδα

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2nd Model Junior High School of Athens, Greece

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The use of murex in the Akrotiri frescoes is particularly fascinating due to its role in producing a vivid purple pigment. Murex, a type of sea snail, was the source of the famous purple dye known as Tyrian purple, highly prized in antiquity for its intensity and durability.

In the context of the Akrotiri frescoes, murex purple paint has been conclusively shown to be used in several frescoes, including the “Saffron Gatherers” fresco, the “Mistress of the Animals” fresco, and notably on the sleeve of the Basket Bearer from the Procession of Mature Women. This particular fresco depicts a series of processional female figures, and the use of murex purple indicates not only the technical capabilities of the artists but also the social or ritual significance of the color.

The purple hue derived from murex would have been a symbol of status and wealth, as the process of extracting the dye was labor-intensive and costly.

The presence of this color in the frescoes suggests that the depicted scenes might have been of particular importance to the inhabitants of Akrotiri, possibly representing ceremonial or sacred events.

The Akrotiri frescoes, with their use of murex purple, stand as a testament to the advanced artistic techniques and the complex social structures of the Aegean civilizations during the Bronze Age. They provide invaluable insights into the aesthetics, values, and daily life of the time. The frescoes’ preservation allows us to appreciate the rich palette, including the prestigious murex purple, which continues to captivate viewers with its depth and brilliance.

3rd Junior High-school of Glyfada

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The term “Porphyrogenitus” refers to a child born while their father was the emperor of the Byzantine Empire. The word originates from the special chamber, known as the “Porphyra”, within the Byzantine palaces in Constantinople, where imperial children were born. This chamber was lined with purple marbles and had a pyramidal roof, symbolizing imperial power and aristocratic lineage.

In Byzantium, purple held great significance, as the color was associated with imperial authority and wealth. The color was derived from the juice of the sea snail murex, which was difficult and expensive to extract, making purple a symbol of the highest social class. Therefore, the term “Porphyrogenitus” not only literally referred to the birth of a child in the Porphyra but also implied their inherent right to the imperial succession, although the position of emperor was elective and not guaranteed solely by birth.

3rd Junior High-school of Glyfada

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In Morocco, the village of Chefchaouen is famous for its blue-painted houses. This tradition began with the Jewish inhabitants who used a type of dye made from the mollusk Hexaplex trunculus. This sea snail produces a color that is initially purple but can turn blue after exposure to light, known as tekhelet. Tekhelet was used in garments for ceremonial purposes in antiquity and was a symbol of aristocracy. It is likely that this color or a similar one made from other species of sea snails from the Muricidae family, such as Bolinus brandaris or Stramonita haemastoma, was used to paint the houses in Chefchaouen. The blue color continues to be a symbol of the city and is one of the reasons Chefchaouen is known as the “blue village” and has become a popular tourist destination.

3rd Junior High-school of Glyfada

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Red powder (cinnabar and quartz) preserved inside a shell at the Neolithic site of Cova de l’Or (Beniarrès, Alacant, Spain)

The Neolithic site of Cova de l’Or, located in the Valencia region of Spain, is an archaeological site of significant importance for understanding the Neolithic period in the Western Mediterranean. It provides a complete cultural and environmental sequence from the Early to Middle Neolithic, offering insights into the transition from agricultural to pastoral use in the region. The site reveals how the management of forest resources evolved with the arrival of the first farmers and the subsequent intensification of herding activities. Artifacts found at Cova de l’Or, particularly the cardial ceramic type, reflect possible North African and eastern Mediterranean influences, and the stone, bone, and shell industries found there are described in great detail, illustrating the advanced technological skills of the Neolithic inhabitants.

3rd Junior High-school of Glyfada

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In Cyprus, the cultivation of murex and the production of its pigment have a history that dates back to antiquity. The island was one of the key locations in the Mediterranean for the production of the precious Tyrian purple dye, derived from the murex snail. This dye was renowned for its vibrant purple color and was highly valued in ancient times, often reserved for royalty and high-ranking officials. The process of making the dye was laborious, involving the collection of thousands of murex snails, from which only a small amount of dye could be extracted. The snails were broken open to access the hypobranchial gland, where the precursor to the dye was located. This substance would then be exposed to sunlight and undergo a chemical transformation, resulting in the deep purple hue. The art of murex dye production in Cyprus was not only a significant economic activity but also a craft that required specialized knowledge and skills, reflecting the island’s rich cultural heritage in textile production and trade

3rd Junior High-school of Glyfada

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In Greece, the tradition of dyeing Easter eggs is deeply rooted in cultural and religious practices. The most common color for these eggs is red, symbolizing the blood of Christ and the victory of life. Traditionally, on Holy Thursday, families across Greece dye eggs red using natural dyes made from onion skins, which give a rich, deep red color. This method involves boiling the eggs with the onion skins and a bit of vinegar to fix the color. While red remains the predominant color, other natural dyes are also used, such as the rizari plant, turmeric, beetroot, or even coffee, to achieve different hues. Today, commercial dyes are widely available and used for convenience, but many still prefer the traditional natural methods for their symbolic significance and the connection to nature they provide.

3rd Junior High-school of Glyfada

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Henna, derived from the plant Lawsonia inermis, is a natural dye with a rich history of use across various cultures. It is native to northern Africa, Asia, and Australia, and has been cultivated and used for thousands of years. Traditionally, henna has been employed for its reddish-brown staining properties in the art of mehndi, or henna tattoos, particularly in South Asia, the Middle East, and North Africa. The dye is also used for coloring hair and fingernails, as well as fabrics like silk, wool, and leather. Henna’s popularity transcends cultural and religious boundaries, and its application ranges from bridal ceremonies to fashion statements. The dye is made by crushing the leaves of the henna plant into a paste, which releases the dye molecule lawsone that binds to proteins, creating a stain on the skin, hair, or fabric. Today, henna continues to be a symbol of celebration and beauty in many parts of the world.

3rd Junior High-school of Glyfada

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The most striking imagery from the Minoan civilization comes from their frescoes, which have been preserved in various archaeological sites across the island. These frescoes were created using natural mineral pigments, and while many have faded over time, some still retain their vibrant colors. For instance, the famous frescoes at Knossos display a range of colors, including black, red, white, yellow, blue, and green, which were made from carbonaceous shale, haematite, hydrate of lime, ochre, silicate of copper, and mixed pigments. Additionally, studies and analyses of pigments in Minoan larnakes (stone coffins) from the Rethymnon area have revealed the use of both organic and inorganic pigments, with non-destructive techniques like XRF and Raman Spectroscopy being used to identify them. These findings contribute to our understanding of the ancient technology and artistic practices of the Minoan civilization.

3rd Junior High-school of Glyfada

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In Macedonia, particularly in the context of ancient wall paintings, a variety of mineral pigments were used by artists to create vivid and enduring artworks. A study focusing on the pigments found in Macedonian tombs dating back to the fourth to third century BC revealed the use of red ochre, yellow ochre, Egyptian blue, and carbon black. These pigments were chosen for their durability and vibrant colors, which have withstood the test of time and can still be seen today. Red and yellow ochres, derived from natural minerals like limonite, goethite, and haematite, offered a wide range of hues essential for creating depth and dimension in the paintings. The presence of calcite was also noted, and in some cases, an organic material, possibly egg yolk, was detected, which might have been used as a binding medium. These findings not only provide insights into the artistic practices of ancient Macedonia but also contribute to the preservation and understanding of their cultural heritage.

3rd Junior High-school of Glyfada

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Salvador Dalí was known for his experimental approach to materials, and while he used a variety of mediums throughout his career, his oil paintings often began with a white primed wood panel, onto which he would draw outlines in pencil, ink, or diluted black paint ¹. He combined his paints with natural resins like dammar or mastic, sometimes together with linseed oil for greater fluidity or ease of application ¹. These natural resins would have contributed to the fluidity that is characteristic of Dalí’s work.

In terms of pigments, while the specific details about the pigments in each of his paintings are not always documented, it is known that many artists of his time used natural pigments derived from minerals, plants, and other natural sources. These could include pigments like ultramarine (from lapis lazuli), vermilion (from cinnabar), and malachite green (from the malachite mineral), among others. Given the period when Dalí was active, it is likely that his palette included both natural and synthetic pigments, as the 20th century saw the introduction of many synthetic colors. However, without specific analysis of individual paintings, it is difficult to determine the exact nature of each pigment used.

3rd Junior High-school of Glyfada

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Λαύριο, Ελλάδα

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Λαύριο, Ελλάδα

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Λαύριο, Ελλάδα

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A journey to Lavrion in time and in space!

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Cuevas de Altamira, Avenida Marcelino Sanz de Sautuola, s/n, Santillana del Mar

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Cuevas de Altamira, Avenida Marcelino Sanz de Sautuola, s/n, Santillana del Mar

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Cuevas de Altamira, Avenida Marcelino Sanz de Sautuola, s/n, Santillana del Mar

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Sara, Mario, Marco y Hugo

I.E.S Duque De Alburquerque

The pigments used in this painting are the goethite and the hematite. There were used in the black and grey zones of the paintings and the bisons were painting with red ocre and clay.

Here is a video explaining more about the painting.

https://www.youtube.com/watch?v=OheN0J1xsf0

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Miguel, Imanol, Violeta and Nicolás

IES Duque de Alburquerque

Red was obtained from cinnabar, obtaining a vermilion color. It is formed in granular crusts or veins associated with volcanic activity and hot springs.

Italy had high volcanic activity, that is one of the causes of red being common in Romanic art

It was the colour of virility and the colour of the army. Soldiers used red in its unifroms to honour the god of war, Mars, which is also the red planet.

The flag of the Roman empire is also red-coloured-

https://www.youtube.com/watch?v=pFmtV44-02o

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The Virgin with the Child and Saint John, know as the Virgin of the Meadow, painted by the Italian painter Raphael Sanzio during the Renaissance. The cobalt blue pigment is found on the veil of the virgin. Cobalt blue comes from the mineral cobalt, which is not a specific mineral, this mineral came from other types of minerals. It is usually obtained from the extraction of cobaltite.

Cobalt blue represents pureness and divinity, that is why it was used for the representation of virgins.

https://www.youtube.com/watch?v=zkUaspmaeFs

IES Duque de Alburquerue 4th year

Daniela Izuierdo

José Angel Ruano

Edgar Morales

Uxue Núñez

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Iglesia de San Clemente | Taüll, Avinguda de les Freixes, Tahull, Lérida

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Iglesia de San Clemente | Taüll, Avinguda de les Freixes, Tahull, Lérida

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Iglesia de San Clemente | Taüll, Avinguda de les Freixes, Tahull, Lérida

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The Christ of San Clemente is located in the church of San Clemente de Tahull in Lérida (Spain).

It is a Romanic painting and its function was to indoctonate and educate the faithful in religious principles. It is a High-Quality pigment, and it has religious simbolism. It has a display of Wealth and Devotion.

The pigment found in this painting is the ultramarine blue. It comes from lapislazuli mineral, from the VIII class (silicates). It’s chemical formula is Na6Ca2.

It’s main extraction mines are in the Badakshan region of upper Afghanistan.

This pigment, the ultramarine blue was used in paintings.

https://www.youtube.com/watch?v=-nhJkyLHdm8

COMPONENTS:

Lucía Hernando Minguela

Laura Montero Pascual

Nerea Gómez Cachorro

IES DUQUE DE ALBURQUERQUE

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C. de Sta. Isabel, 52, Centro, 28012 Madrid, España

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Museo Nacional Centro de Arte Reina Sofia

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C. de Sta. Isabel, 52, Centro, 28012 Madrid, España

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C. de Sta. Isabel, 52, Centro, 28012 Madrid, España

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Matei,Jose,Matei,Sergio I.E.S Duque De Alburquerque. The pigments used in this painting are the carbon black, titanium white and a spectrum of greys. It was used to color the characters of the painting and the background. For more information here is a video explaining the painting with more detail.

https://www.youtube.com/watch?v=ncAOScjLPdU

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Timeless Palette: The Minerals of Lascaux

Deep within the Dordogne region of France lies the Lascaux Cave, a testament to the artistic spirit of our early ancestors. Gracing its walls are magnificent paintings of bison, horses, and stags, rendered in a palette of rich reds, blacks, and yellows. But the wonder of Lascaux extends beyond the artistry itself. The pigments used to create these enduring works come not from exotic imports, but from readily available minerals found near the cave.

Hematite, a reddish iron oxide, provided the vibrant reds that dominate the paintings. Manganese oxides, another naturally occurring mineral, were used to create the deep blacks that outline the figures. And for the striking darks and subtle shading, charcoal, derived from burnt wood or bone, was employed. These common materials, skillfully chosen and prepared, became the foundation for a visual language that has transcended millennia.

The early humans who created these paintings weren't just using whatever was at hand. The minerals they selected offered not just convenience, but exceptional properties. Hematite's natural brilliance ensured the reds would hold their vibrancy for ages. Manganese oxides provided a deep, enduring black that wouldn't fade. And charcoal, readily available and easily manipulated, offered a range of tones for shading and detailing.

The Lascaux Cave paintings stand as a remarkable testament to the ingenuity and artistic vision of our distant past. Using what nature provided, they created a masterpiece that continues to inspire awe. The choice of minerals not only reflects their resourcefulness, but also their understanding of the materials they used. Lascaux reminds us that artistic expression can be found in the most basic elements, waiting to be discovered by a creative mind.

3rd j h school of Argyroupolis 

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Ajanta Caves  Hematite, kaolin, lampblack  used by ancient Indian artists for their accessibility and color variety in cave paintings.

3rd junior high school of Argyroupolis

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Xian, Σαανσί, Κίνα

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Xian, Σαανσί, Κίνα

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Xian, Σαανσί, Κίνα

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Terracotta Army  Cinnabar, malachite, azuriteAncient Chinese artists used these minerals for their bright, long-lasting colors in painted statues.
3rd junior high school of argyroupolis

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Woad, madder, weld

Plant-based dyes used for their vivid, lasting colors in embroidered fabric.

3rd j high school of Argyroupolis

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Iron-rich clay played a significant role in ancient Greek pottery, particularly the famous Athenian pottery. Here's a breakdown of the key points:

Location: Greece

Clay Type: Iron-rich clay, also known as Attic clay

Benefits of Iron-rich Clay:

Natural Color: The iron content gives the fired pottery a beautiful orange-red color, often referred to as "terracotta."

Heat Resistance: Iron-rich clay can withstand high firing temperatures, crucial for creating durable and long-lasting pottery.

This combination of vibrant color and heat resistance made Attic clay ideal for producing a wide range of pottery forms, from amphorae for storage to intricate vases decorated with mythological scenes.

3rd junior high school of Argyroupolis