Suppliers of lithopone have recognized the growing need for high-quality, reliable products that meet both industry standards and consumer preferences. They have invested in advanced production techniques and stringent quality control measures to ensure that their lithopone products deliver consistent performance. This commitment to quality allows paint formulators to achieve the desired properties in their final products, such as enhanced durability, improved hiding power, and superior color stability over time.
Magnesium occurs in seawater and in ores such as dolomite (CaCO 3 MgCO 3), magnesite (MgCO 3), and carnallite (MgCl 2 KCl 6H 2O).
New adjustments have been announced for tariff rates, which will benefit the chemical industry in China in particular, due to decreased import and export tariffs for several chemicals. The export tariff for ilmenite will stay unchanged by 10% and the rate for ferrotitanium decreased by 5% down to 20%.
Titanium dioxide comes in the form of a white powder and is sometimes used in cosmetics to adjust a color to a lighter shade. This is also why it can produce a white cast.
Prof Matthew Wright, both a member of the FAF Panel and chair of EFSA’s working group on E 171, said: “Although the evidence for general toxic effects was not conclusive, on the basis of the new data and strengthened methods we could not rule out a concern for genotoxicity and consequently we could not establish a safe level for daily intake of the food additive.”
This article discusses the discovery of phosphorescent lithopone on watercolor drawings by American artist John La Farge dated between 1890 and 1905 and the history of lithopone in the pigment industry in the late 19th and early 20th centuries. Despite having many desirable qualities for use in white watercolor or oil paints, the development of lithopone as an artists’ pigment was hampered by its tendency to darken in sunlight. Its availability to, and adoption by, artists remain unclear, as colormen's trade catalogs were generally not explicit in describing white pigments as containing lithopone. Further, lithopone may be mistaken for lead white during visual examination and its short-lived phosphorescence can be easily missed by the uninformed observer. Phosphorescent lithopone has been documented on only one other work-to-date: a watercolor by Van Gogh. In addition to the history of lithopone's manufacture, the article details the mechanism for its phosphorescence and its identification aided by Raman spectroscopy and spectrofluorimetry.
Rebecca Capua is an assistant conservator in the Paper Conservation Department at the Metropolitan Museum of Art since 2009. She received an MA in art history and an Advanced Certificate in art conservation from the Conservation Center, Institute of Fine Arts, New York University in 2007. Her primary area of research is on the materials of American artists of the late 19th and early 20th century. Address: The Sherman Fairchild Center for the Conservation of Works on Paper, Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028. Email: rebecca.capua@metmuseum.org.