Turner’s Mysterious Yellow
A Watercolor Wonder
A favorite pigment color in our watercolor palettes has always been Holbein’s Indian Yellow. We were distraught when it was discontinued in 2012. When we contacted Holbein to ask them why it had been discontinued and if they planned to bring it back, they replied that “changes have been made to the watercolor line,” but didn’t give a reason for the discontinuation of this wonderful color.
This led us to doing a little research on the history of Indian Yellow, one of the traditional colors used by J.M.W. Turner. What we thought would be a straightforward fact-finding mission left us scratching our heads. The story of Indian Yellow’s origins and manufacture is shrouded in mystery and contradictory accounts.
A popular story relies on hearsay and a single letter written by Mr. T. N. Mukharji sent to the Society of Arts in London in 1883. In it, he described the process of making Indian Yellow as consisting of collecting the urine of cattle left to roam in mango orchards in the Bihar province of India. In one version of this story it was said that the cows were made to urinate into buckets on command. The urine was then concentrated over fire, filtered through cloth and made into balls left to dry in the sun. Another version says that the urine was collected somehow, then mixed with clay and rolled into small balls of about three to four ounces. The mystery is deepened by other anecdotal stories, which claim that in the early 1900s, a law was passed in India which prohibited production of the color, due to the cruelty inflicted on the cows. But the law can’t seem to be found in historical records. For her 2004 book Color: A Natural History of the Palette, Victoria Finlay searched in both the India Library in London and the National Library in Calcutta for legal records concerning the supposed banning of Indian Yellow production, and found none.
Because this story comes from a single letter, there has been much dispute over its veracity. In 1839, M.J.F.L. Merinee wrote in the book, The Art of Painting in Oil and in Fresco, that the color may be extracted from a large shrub called memecylon tinctorium (used by natives for yellow dye) which exudes the smell of cow urine. In 1844 a German chemist, John Stenhouse, examined balls of the color and also concluded that it was of vegetable origin. Winsor and Newton, however, reiterates the mango-eating/cow urine story on their website as the explanation for Indian Yellow’s origins. Lumps of the pigment can be viewed in the museum cabinets of their headquarters in the UK.
What we do know is that the Indian Yellow of the last century or so has been manufactured chemically and thankfully does not smell of urine. Why Holbein has discontinued their version of the color (our favorite) is unknown, but Winsor and Newton, Sennelier and other manufacturers still carry their particular formulations of it.
(Synthetic Indian yellow hue is a mixture of nickel azo, hansa yellow, and quinacridone burnt orange. It is also known as azo yellow light and deep, or nickel azo yellow.)
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–John and Ann
the reason many of these type yellows are discontinued is because they are not light fast by any stretch of the imagination, all azo and diarylide pigments as well as many other organics are quickly fugitive in pale tints and are only class ll pigments even in full strength, the traditional test for permanence has been replaced by a less stringent one that has allowed all these pigments to be labeled incorrectly,, , the mango buffalo pee faded also, the strong yellows turner used were arsenic sulphide which was later replaced by chrome yellow in its many variations from lemon yellow to orange, and was far less toxic, there are many assumptions about turners palette that are often mistaken, and i have found quite often that most painters only care about todays results and longevity be damned, turner was much that way himself, “Your business Winsor is to make colours. Mine is to use them.” jmw turner to william winsor, the w/c turner yellow at w/n is a perm. pigment because it is a melted and calcined pigment so is in a rutile matrix, so cannot fade glass, the new gamboge is perm in saturation but not in high tint, and the reformulation of indian yellow is also perm except in very pale tints, the isoindoline is lightfast but the benzimidazalone orange in it is not fully so, everyone needs to test their palette themselves, using washes/tints/saturation as you actually use them, on a nice stiff piece of w/c board wash and deeptone all the way across the width, then after completely dry cover half so no light gets to that half of the pigments, put in a south facing window for 3 months during the summer, keep record of what was where, you will be challenged by what you see once the darkened side is revealed, and to all those addicted to PV23 dioxazine you will be quite shocked to see most of it has gone from the exposed side, and astm is complicit in this charade,
No idea how old this article is as it appears undated, but curious to note there was no mention of Winsor & Newton’s “Turner’s Yellow” which I assume by its name is their attempt at recreating this color and not “Indian Yellow” Turner’s Yellow is