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Initial experimentation occurred in Dijon in 1780; some accounts suggest that the initiative was led by the chemist Jean-Baptiste
Courtois, while others credit Guyton de Morveau. A report drafted by Guyton de Morveau in 1782 brought the first significant attention to zinc oxide as a pigment. While the pigment was discussed in French and English sources throughout the 1780s, few artists reported having tried it at that time. The pigment was commercially available in Europe in the 1790s, but its use remained limited; commentators noted its high price and its thin viscosity.
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Since antiquity, zinc oxide has been a readily available byproduct of brass production, but the idea of using it as a pigment was not widely considered until the eighteenth century. A major impetus for trying zinc oxide as a pigment was growing concern over the toxicity of lead-based white pigments.
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The paint manufacturer E. C. Leclaire is largely responsible for popularizing zinc white in oil painting. Working in the late 1830s and early 1840s, he improved the hiding power of zinc white and added siccatives that reduced its drying time in oil. He began industrially manufacturing zinc white in
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almost completely avoided zinc white, according to laboratory analysis of their paintings. When zinc white has been found in works by
Impressionists, it generally constitutes a lightening agent that was added to another color by the paint manufacturer, not the artist. Zinc white has been found in
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Zinc white is much more resistant to yellowing compared to other white pigments when mixed with oil. However, paint made with zinc white tends to yield more brittle surfaces than other white paints, and its use can sometimes result in cracks. The brittleness of zinc white paint has proven to be a
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expressed skepticism. Initially, zinc white pigment was more costly to produce than lead white, but its price diminished as production methods improved over the course of the nineteenth century. While the superior safety of zinc white had been established by the end of the eighteenth century,
46:, it is among the three most prominent white pigments that are commercially available today. Its primary advantages are its low toxicity (particularly in contrast with lead white) and the cool clarity of its color. It was initially developed in the 1780s by the French chemist and magistrate
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While zinc white was available to painters by the end of the eighteenth century, relatively few examples of its use have been found before 1850, when its adoption steadily increased. Members of the Pre-Raphaelite
Brotherhood embraced zinc white, frequently using it in their ground layers.
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The first major application for zinc white in painting was among watercolorists. Oil paints made with zinc white tended to dry slowly, but this problem did not occur with watercolor. The use of zinc white in watercolor was promoted in the 1830s by
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Zinc white has a cooler hue than lead white, which tends to have a yellowish cast. Zinc white generally needs to be mixed with greater quantities of oil than lead white in order to create a spreadable oil paint, which reduces its
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manufacturers of lead white downplayed these differences, and lead continued to dominate the market for white paint until the early twentieth century.
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268:"The Colour of Controversy. Scientific Knowledge, The Market and Industrial Risk Regulation in The Nineteenth Century"
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Zinc white was often marketed as "Chinese white" during the nineteenth century, as seen in this 1885 advertisement.
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Biographies of
Materials. A World Scientific Encyclopedia of the Development and History of Material Science
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Singer, Brian; Aslaksby, Trond E.; Topalova-Casadiego, Biljana; Tveit, Eva
Storevik (2010).
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1893. Laboratory analysis has revealed the presence of zinc white in the painting.
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Eastlaugh, Nicholas; Walsh, Valentine; Chaplin, Tracey; Siddall, Ruth (2008).
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used small amounts of zinc white in his work, but he favored lead white. The
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that has been used by painters since the late eighteenth century. Alongside
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Artists' pigments c.1600-1835 : a study in
English documentary sources
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101:; on their own, lead and zinc white refract light more or less equally.
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Artists' Pigments: A Handbook of Their
History and Characteristics
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204:
Kühn, Hermann (1996). "Zinc White". In Feller, Robert L. (ed.).
352:. Internet Archive. London : Archetype Publications.
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approved of the invention in 1782, but artists from the
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1797. An early example of zinc white's use in painting
296:A Cultural History of Color in the Age of Industry
237:The Creation of Color in Eighteenth Century Europe
393:"Investigation of Materials Used by Edvard Munch"
255:. University of Chicago Press. pp. 150–54.
56:French Royal Academy of Painting and Sculpture
88:1845, and others soon followed in the 1850s.
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253:Bright Earth: Art and the Invention of Color
208:. Vol. 1. Archetype. pp. 169–186.
50:, who struggled to popularize its use. The
346:Harley, R. D. (Rosamond Drusilla) (2001).
316:. Taylor & Francis. pp. 412–13.
298:. Bloomsbury Academic. pp. 165–81.
221:Color: A Natural History of the Palette
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294:Townsend, Joyce (2021). "Art".
48:Louis-Bernard Guyton de Morveau
274:. World Scientific Publishing.
270:. In Hessenbruch, Arne (ed.).
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240:. Columbia University Press.
110:major issue in the work of
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52:French Academy of Sciences
409:10.1179/sic.2010.55.4.274
234:Lowengard, Sarah (2008).
219:Finlay, Victoria (2002).
23:Johann Georg von Dills,
397:Studies in Conservation
373:Levison, H.W. (1976).
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251:Ball, Philip (2003).
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453:Inorganic pigments
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157:The Scream
132:The Scream
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105:Permanence
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32:Zinc white
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458:Pigments
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71:History
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