Prussian blue is featured in Waves of Kanagawa

The Timeless Appeal of Prussian Blue: What Artists Need to Know

Prussian Blue, an iconic pigment discovered in 1704, has a rich legacy intertwined with the development of art over centuries. Artists today continue to admire and use this deep blue hue, known for its vibrant color and unique chemical properties. This blog delves into the essential insights from a recent scholarly review of Prussian Blue, highlighting key considerations for artists—ranging from the pigment’s history and chemistry to its practical applications and challenges in modern painting techniques.


An example of the use of Prussian blue pigment is in Thomas Gainsborough’s painting of Mrs. Siddons. Thomas Gainsborough  (1727–1788), Title: Mrs Siddons, Portrait of Mrs. Sarah Siddons (1755-1831),
1785, oil on canvas, height: 126 cm (49.6 in); width: 99.5 cm (39.1 in), National Gallery.

Origins and Evolution of Prussian Blue

Prussian Blue was serendipitously discovered by the Berlin-based color maker Diesbach while experimenting with the oxidation of iron compounds. Initially, it found its place in European art as a replacement for more expensive blue pigments like ultramarine. By 1724, it was well established in the artistic palettes of European painters. It remained a staple pigment for artists worldwide until the late 20th century when phthalocyanine blue began to dominate.

Prussian blue is featured in Waves of Kanagawa
Katsushika Hokusai’s Thirty Six Views of Mount Fuji (1830) made early and prolific use of Prussian blue, highlighted in the publisher’s advertising for the series. The now-famous Great Wave off Kanagawa was predominantly Prussian blue, with the then relatively new pigment proving particularly effective in expressing depth in water and atmospheric depth.

Despite its historic roots, Prussian Blue continues to be relevant today, not only as a pigment but also in other fields such as conservation, medicine, and industrial applications. Its persistence in art is largely due to its high tinting strength, remarkable vibrancy, and adaptability in mixing with other pigments to create a range of shades and tones.

Prussian Blue
The Prussian blue color and its atomic structure (author’s figure from the article).

Chemical Properties and Colorfastness of Prussian Blue

The deep blue color of Prussian Blue is due to the electronic transitions between iron ions within its complex chemical structure. However, the pigment is sensitive to environmental conditions, which can cause issues like bronzing or discoloration over time. For example, when exposed to light and air, Prussian Blue may undergo subtle shifts in color due to changes in its refractive index, especially when viewed at glancing angles.

Artists should also be aware that Prussian Blue can exhibit undertones of red or green, depending on its preparation conditions. The pigment’s tinting strength makes it a valuable addition to any palette, but its interaction with other materials, especially whites and yellows, must be handled with care. When mixed with lead white, for example, the pigment can develop an unwanted greenish hue, a phenomenon often exacerbated by the medium’s yellowing rather than the pigment itself.

Best Practices in Handling Prussian Blue

To maintain the integrity and vibrancy of Prussian Blue, artists should follow several best practices:

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  1. Great article about Prussian blue. I think all of us artists over “a certain age” can especially enjoy it’s properties. Phthalos on my palette now, but remember it being one of the “exotic” favorite pigments back in the day. Thanks.

  2. Thank you for this article. I’ve grown to really prefer Prussian Blue over Thalo Blue in watercolors. I was doing research on Sargent’s Venetian Watercolors and as I tried to reproduce them, Prussian Blue was usually a key color! I didn’t know that I should avoid using Lead White or Titanium White when mixing Prussian Blue in oils. Thank you for the heads up.

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