193:
317:
250:
332:
29:
42:
232:, with the hematite and goethite (generally 60% of the content) determining the colour. The more hematite, the redder the pigment, while the others are inert substances that can vary the opacity or tinting strength. The colour of mummy brown can vary from yellow to red to dark violet, the latter usually called "mummy violet".
84:
in tint. The pigment was made from the flesh of mummies mixed with white pitch and myrrh. Mummy brown was extremely popular from the mid-eighteenth to the nineteenth centuries. However, fresh supplies of mummies diminished, and artists were less satisfied with the pigment's permanency and finish. By
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Mummy brown exhibits poor permanence. It fades easily and cracks when used alone. However, when mixed with oil paints, it dries and the tendency to crack is diminished. It was also extremely variable in its composition and quality, and since it contained ammonia and particles of fat, it was likely
174:
By 1915, demand for mummy brown had slowed so much that one London colourman claimed he could satisfy his customers' requests for twenty years from a single
Egyptian mummy. By the start of the 20th century, mummy brown had largely ceased production in its traditional form due to a continued decline
162:
The pigment was popular from the mid-eighteenth to the nineteenth centuries. However, the demand for mummy brown sometimes exceeded the available supply of true
Egyptian mummies, leading to occasional substitution of contemporary corpses of enslaved people or criminals. By 1849, it was described as
184:
magazine reported that the sole distributor of the pigment, London colourmaker C. Roberson, had run out of mummies a few years prior. A tube of mummy brown pigment purchased from
Roberson in early 1900s is on display at the Forbes Pigment Collection of the
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Towards the end of the nineteenth century, mummy brown began to fall out of popularity. Fresh supplies of mummies diminished, and artists were less satisfied with the pigment's permanence and finish. The Pre-Raphaelite artist
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632:
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Some popular paintings included in previous articles and research papers are thought to have been painted with mummy brown based on their visual characteristics. Examples include the
147:. The earliest record of the use of mummy brown dates back to 1712 when an artist supply shop called "Ă€ la momie" in Paris sold paints, varnish, and powdered mummy. In 1797, a
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41:
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443:
824:
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In the 16th and 17th centuries, people began producing pigment from mummies. The pigment was made from the flesh of
Egyptian mummies or
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were known for their medicinal qualities. People used materials derived from mummies to treat a wide range of medical complaints, from
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626:
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is claimed to have been painted with mummy brown because
Delacroix was "known to have used pigment made from ground mummy."
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213:. It has good transparency. It could be used in oil paint and watercolour for glazing, shadows, flesh tones, and shading.
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was reported to have ceremonially buried his tube of mummy brown in his garden when he discovered its true origins.
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1915, demand had significantly declined. Suppliers ceased to offer it by the middle of the twentieth century.
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Ancient mummy brown is a rich brown pigment with a warm vibrancy. The colour is intermediate in tint between
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El enigma de las momias: Claves histĂłricas del arte de la momificaciĂłn en las antiguas civilizaciones
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Godfraind-De Becker, Anne. Utilisations des momies de l'antiquité à l'aube du XXe siècle.
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https://www.unamur.be/sciences/philosoc/revueqs/textes-en-ligne/RQS_181_3momies.pdf
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in the supply of available mummies as well as a significant drop in demand.
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The modern equivalent sold as "mummy brown" is composed of a mixture of
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published in London proclaimed that the finest brown used as a glaze by
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621:(in Spanish) (Ediciones Nowtilus S.L. ed.). Ediciones Nowtilus.
477:"The corpse on the canvas: the story of 'mummy brown' paint | Art UK"
358:
260:
is believed to have been painted with an extensive use of mummy brown
221:
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Mummy brown is shown on the catalog with other browns for comparison
695:"A Pigment from the Depths | Index Magazine | Harvard Art Museums"
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315:
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Today, mummy brown cannot be bought from any paint shop. In 1964,
144:
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159:, "is the flesh of mummy, the most fleshy are the best parts."
594:. Los Angeles, CA: J. Paul Getty Museum. pp. 81–82.
807:
Pigment
Compendium: A Dictionary of Historical Pigments
361:, a medicinal preparation sometimes made from mummies
120:
Before "mummy brown" was used as a pigment, Egyptian
751:"Ground Up Mummies Were Once an Ingredient in Paint"
143:(both human and feline), mixed with white pitch and
88:
Mummy brown was one of the favourite colours of the
50:
38:
21:
569:
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76:pigment with good transparency, sitting between
16:Historical pigment made with mummified remains
8:
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392:. London: John Murray. pp. 253–255.
383:
381:
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355:, a pigment also known as cardinal purple
241:to affect other colors it was used with.
92:. It was used by many artists, including
847:A Dictionary of Art Terms and Techniques
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778:. BiblioBazaar, LLC. pp. 254–255.
554:
552:
550:
548:
533:Adeline, Jules; Hugo G. Beigel (1966).
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849:. New York: Harper and Row Publishers.
656:, 2010, vol. 181, no. 3, pp. 305–340.
18:
724:. naturalpigments.com. Archived from
592:The Brilliant History of Color in Art
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837:The Chemistry of Paints and Painting
679:The Chemistry of Paints and Painting
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342:was probably drawn using mummy brown
441:"The life and death of Mummy Brown"
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654:Revue des questions scientifiques
615:Vallvé, David Sentinella (2010).
33:A tube of mummy brown in a coffin
40:
635:from the original on 2020-10-09
511:from the original on 8 May 2019
46: Color coordinates
340:Last Sleep of Arthur in Avalon
289:Last Sleep of Arthur in Avalon
1:
568:. 1964-10-02. Archived from
560:"The Passing of Mummy Brown"
505:"The Library of Rare Colors"
503:Tom, Scott (18 March 2019).
803:Eastaugh, Nicholas (2004).
895:
537:The Adeline Art Dictionary
390:The Secret Lives of Colour
388:St. Clair, Kassia (2016).
325:Liberty Leading the People
306:Liberty Leading the People
590:Finlay, Victoria (2014).
452:Journal of Art in Society
163:being "quite in vogue."
26:
840:. London: Seeley and Co.
682:. London: Seeley and Co.
264:Many artists, including
353:Caput mortuum (pigment)
155:, the president of the
834:Church, A. H. (1901).
776:Field's Chromatography
774:Field, George (2008).
693:R. Leopoldina Torres.
676:Church, A. H. (1901).
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201:Visual characteristics
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845:Mayer, Ralph (1945).
813:Butterworth-Heinemann
699:harvardartmuseums.org
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297:Interior of a Kitchen
258:Interior of a Kitchen
252:
195:
149:Compendium of Colours
755:Smithsonian Magazine
519:– via YouTube.
278:Lawrence Alma-Tadema
106:Lawrence Alma-Tadema
864:Iron oxide pigments
541:. F. Ungar Pub. Co.
245:Notable occurrences
72:, was a rich brown
663:2019-05-05 at the
446:2013-10-14 at the
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336:Edward Burne-Jones
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293:Edward Burne-Jones
274:Edward Burne-Jones
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187:Harvard Art Museum
169:Edward Burne-Jones
102:Edward Burne-Jones
826:978-0-7506-5749-5
439:McCouat, Philip,
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62:, also known as
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301:Martin Drolling
282:Martin Drolling
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728:on 2004-08-16
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207:burnt umber
139:mummies of
78:burnt umber
60:Mummy brown
22:Mummy brown
858:Categories
815:. p.
797:References
760:2023-04-13
732:2008-02-08
704:2023-04-14
639:2019-12-28
486:2023-04-13
236:Permanence
126:toothaches
74:bituminous
481:artuk.org
408:936144129
211:raw umber
130:dysentery
82:raw umber
869:Pigments
661:Archived
633:Archived
509:Archived
444:Archived
347:See also
230:hematite
226:goethite
879:Mummies
137:Guanche
122:mummies
116:History
823:
782:
625:
598:
406:
396:
359:Mummia
303:, and
280:, and
228:, and
222:quartz
218:kaolin
108:, and
51:Source
515:8 May
366:Notes
145:myrrh
821:ISBN
780:ISBN
623:ISBN
596:ISBN
565:Time
517:2019
404:OCLC
394:ISBN
209:and
181:Time
80:and
309:by
299:by
291:by
256:'s
128:to
66:or
860::
819:.
817:81
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