Why Ultramarine Blue Was Reserved for the Virgin Mary in Art
The article explores why ultramarine blue, made from lapis lazuli, was reserved for the Virgin Mary in medieval and Renaissance art. The pigment, sourced from the Sar-e-Sang mines in Badakhshan, Afghanistan, was extremely expensive and labor-intensive to produce, making it a symbol of devotion and honor. Artists used it to signify divine importance, allowing viewers to instantly identify sacred figures. The color blue also represented heavenly divinity, contrasting with earthly reds. This practice reflects the intersection of trade, geology, and faith, with each brushstroke serving as an offering. The article cites examples such as works by Simon Marmion, Joos van Cleve, Gerard David, Hans Memling, and Annibale Carracci, all from the Metropolitan Museum of Art.
Key facts
- Ultramarine blue was made from crushed lapis lazuli.
- Lapis lazuli came from Sar-e-Sang mines in Badakhshan, Afghanistan.
- The pigment was the most expensive available in medieval and Renaissance times.
- It was reserved for divine figures, especially the Virgin Mary.
- The name 'ultramarine' means 'beyond the sea', indicating its exotic origin.
- Color theory helped illiterate viewers identify important figures in paintings.
- Judas was often painted in yellow to indicate dishonesty.
- Examples include works by Simon Marmion, Joos van Cleve, Gerard David, Hans Memling, and Annibale Carracci.
Entities
Artists
- Simon Marmion
- Joos van Cleve
- Gerard David
- Hans Memling
- Annibale Carracci
Institutions
Locations
- Badakhshan
- Afghanistan
- Sar-e-Sang mines