Sennelier Dry Pigments

Carbon from animal bones calcified in a vase, rather than ivory tusks as was in the past. A warm, intense black that turns brownish when mixed with white. Very good lightfastness. In oil painting, requires large amouts of binder...

Iron oxide. This synthetic black is durable and very lightfast.Creates cool gray shades. Suitable for all techniques including fresco.  

Carbon smoke soot. This black works especially well for fresco, for which it is primarily used, but is entirely suitable for all techniques. Very lightfast. 

Synthetic aniline black that is velvety and intense. In tints, takes on a slightly bluish hue. Average lightfastness. Not recommended for fresco.  

Zinc oxide, which dates back to 18th century painting, was first manufactured by the French chemist Courtois. A stable, non-toxic, semi-transparent pigment that mixes well with all colours. Use it in thin layers, or in combination...

Titanium WhiteTitanium dioxide (rutile variety). Very lightfast. An opaque, very dense white that mixes well with all colors. An excellent all-around white appropriate for both oil- and water-based colours. The most recent of the white...

Titanium dioxide. Iridescent pigments undergo surface treatment with mica ; their level of iridescence varies according to the mica content. As a result of reflections and light interference, they may take on very different colours...

Documented by Cennino Cennini, the appearance of Naples Yellow has not been clearly established ; true Naples Yellow is a lead antimonate that was frequently employed in past centuries. Its properties have now been rediscovered. But...

Inorganic, phosphorescent Zinc sulfide powders. Recommended for use with water-based binders (except fresco). Since excessive grinding weakens their phosphorescent qualities, pigments should be mixed gently with a binder, or ground...

A mixture of zinc oxide, mononitrogenous “azo” yellow, and modified arylide. A warm yellow with a good lightfastness, compatible with any binder except fresco.

Nickel-titanate yellow. A vibrant yellow with a slight greenish hue. Very good tinting strength, excellent lightfastness in mixtures and shades. Can be mixed with all pigments and suitable in any binder, including fresco.

Cadmium colours, discovered in Germany in 1817 by Stromeyer, were quickly adopted by artits, who appreciated their intensity and high tinting strength. All dry pigments designated as substitutes are made from a combination of...

Fluorescence, which results from the pigments’ ability to transform light, provides unique tonalities that only exist outside nature. These pigments are extremely unstable, and are recommended only for temporary artworks. Very...

Composition of nitrogenous “azo” pigments that reproduce the genuine Indian Yellow shade. Luminous, very lightfast, transparent pigment. Frequently employed for warming up hues. Suitable for all techniques except fresco.

 

Cadmium colours, discovered in Germany in 1817 by Stromeyer, were quickly adopted by artits, who appreciated their intensity and high tinting strength. All dry pigments designated as substitutes are made from a combination of...

 

Cadmium sulfide. Mineral pigment providing an opaque intense yellow with good tinting strength and lightfastness.Suitable for all techniques. Do not mix with flake white or chrome yellows.  

This unique range of primaries was especially developed for the Sennelier range of dry pigments. Each of these hues was formulated to offer exactly the same tinting strength, so inmixtures, they allow you to create medium hue secondary...

 

Cadmium colours, discovered in Germany in 1817 by Stromeyer, were quickly adopted by artits, who appreciated their intensity and high tinting strength. All dry pigments designated as substitutes are made from a combination of...

Nitrogenous “azo” pigment and natural earth. At one time, this pigment was obtained from a concentrate of animal urine from India, but for more than 50 years, it has been reproduced with modern pigments. Transparent, very...

 

Fluorescence, which results from the pigments’ ability to transform light, provides unique tonalities that only exist outside nature. These pigments are extremely unstable, and are recommended only for temporary artworks. Very...

Calcified yellow ochre.  

 

Chinese Vermilion SubstituteToluidine red and extenders. Deep, lake-like red. Average lightfastness. Suitable for all technique except fresco.  

 

 

Fluorescence, which results from the pigments’ ability to transform light, provides unique tonalities that only exist outside nature. These pigments are extremely unstable, and are recommended only for temporary artworks. Very...

Nitrogenous “azo” lake. Bright, extremely luminous,  transparent red. Principally used in oil, watercolour, tempera and acrylic. Average lightfastness. In oil, used primarily in glazes, because when applied in thick...

Alizarin lake on aluminum hydrate base. Deep, transparent red with a carmine hue. Average lightfastness. High tinting strength. When used in oil, has a tendency to crack. Slow drying. Suitable for all techniques, except fresco...

 

 

Organic pigment with very high tinting strength ; very lightfast. An intense, vibrant red that is transparent and therefore outstanding for glazing. In mixtures with white, provides a luminous, delicate pink.  

Toluidine red. A brilliant organic red, extremely intense and luminous. High tinting strength, average lightfastness. Suitable for all techniques, including oil, gouache, watercolour, tempera and acrylic. Not suitable for fresco...

French Vermilion SubstituteThe mineral known as Cinnabar dates back to antiquity; the Romans called it minium. In 1687, Schulte used mercury to create the Vermilion pigment, named after “Vermeil” (bright red). As a result...

 

 

This unique range of primaries was especially developed for the Sennelier range of dry pigments. Each of these hues was formulated to offer exactly the same tinting strength, so inmixtures, they allow you to create medium hue secondary...

Fluorescence, which results from the pigments’ ability to transform light, provides unique tonalities that only exist outside nature. These pigments are extremely unstable, and are recommended only for temporary artworks. Very...

Manganese phosphate. Red-purple hue. Good covering power, average tinting strength, good lightfastness. Suitable for all mediums except fresco and water-based techniques.  

Cobalt aluminate. In the 19th century, the French chemist Thénard successfully obtained this pigment from a natural mineral. A very pure blue shade. Excellent lightfastness, very stable in mixtures. Suitable for all technique

Cobalt aluminate. The varying temperatures at which it is calcinated (cooked) accounts for the many different shades of Cobalt Blue). Bright, deep blue with excellent lightfast properties that mixes very well with other pigments...

Formerly produced in the form of Manganese Blue Genuine until the dangers of its manufacture led to its disappearance. Azure is made from synthetic organic pigments phthalocyanine blue and barium sulfate. Very lightfast. Suitable...

This unique range of primaries was especially developed for the Sennelier range of dry pigments. Each of these hues was formulated to offer exactly the same tinting strength, so inmixtures, they allow you to create medium hue secondary...

Fluorescence, which results from the pigments’ ability to transform light, provides unique tonalities that only exist outside nature. These pigments are extremely unstable, and are recommended only for temporary artworks. Very...

Cobalt stannate. Invented around 1850, under the name celestial blue. Derived from cobalt blue, in a harmonious, blue-green hue. Opaque, very lightfast, stable in mixtures.Suitable for all techniques. Very precious pigment.  

Cerulean Blue Substitute is based on barium sulfate and phthalocyanine blue. This hue, an imitation of genuine cerulean blue, provides remarkable lightfastness. Very high tinting strength. Suitable for all techniques.  

Cobalt aluminate. A unique turquoise hue whose brightness cannot be matched in other mixtures. Excellent lightfastness. To retain its unique vividness in oil painting, use it with a non-yellowing oil (safflower).  

Silico aluminate of sodium polysulfides. In 1828, the chemist Guillemet synthetically reproduced the natural colour of Lapis Lazuli, which had been in use since antiquity. Variations in the hue result from the size of...

Ultramarine Blue Deep Silico aluminate of sodium polysulfides. Preparation identical to that of Ultramarine Blue light. A deep, very intense shade, more purple than Ultramarine Blue light.Very lightfast. An important colour on most...

Silico aluminate of sodium. Mineral pigment. Suitable for all techniques including fresco. Low tinting strength.Provides a transparent, muted, red-violet film. Very lightfast

Indanthrone blue. Synthetic organic pigment. Reproduction of true indigo, which comes from an Indian plant. Very high tinting strength. Remarkable lightfastness. Provides a semi-opaque film. A deep, intense blue suitable for...

Ferric ferrocyanide. Discovered in Prussia at the beginning of the 18th century. Difficult to grind and moisten. Very high tinting strength. Good lightfastness (contrary to its reputation) except in oil colours, where it tends to...

Pure synthetic organic pigment with exceptionally high tinting strength. Very good lightfastness. Suitable for all techniques (except fresco). Because of its powerful tinting strength, use it with discretion. A transparent hue well...

Synthetic organic pigment. Its characteristics are identical to those of Phthalocyanine Blue, but in a brillant rich green hue.  

 

 

 

 

Phthalocyanine and extenders. Close in appearance to genuine emerald green, but at a much more reasonable price.Luminous green with high tinting strength. Good lightfastness and stability in mixtures. Not recommended for fresco.  

 

Anhydrous Chromium Oxide. Dull green hue. Excellent tinting strength and covering power. Very good lightfastness and stability in mixtures. When used in oil, provides a very buttery, easy-to-use paste. Recommended for fresco.  

Natural, clay-base yellow. A warm, slightly transparent colour.  

 

Transparent “azo” pigment and extenders. Very intense, transparent, reddish brown with high tinting strength.Suitable for all techniques, except fresco.  

 

 

Iron oxide. Vibrant brown with excellent colouring capacity. Very lightfast and stable in mixtures. Suitable for all techniques, especially fresco.  

Iron oxide. Dark, rich brownish red. Provides a transparent film with an excellent tinting strength. Very lightfast and stable in mixtures. Suitable for all techniques, including fresco.  

Iron oxide. Good covering brown, very lightfast and stable in mixtures. Recommended for all techniques including fresco.  

 

 

 

Rich, dark brown formulated from natural clays and synthetic pigments. Not recommended for fresco.  

Iron oxide. Purple brown. Very lightfast and stable in mixtures.Suitable for all techniques, including fresco..