Description
Burnt Umber artist color with high pigment content, pure linseed oil and without solvents. The consistency is like butter at room temperature, and for many artists the paint can be used directly from the tube without the addition of paint medium.
The Burnt Umber has a deep brown hue and show it is mixed with white for it a faint hint of violet. Due to the manganese content of the pigment, it dries quickly in oil and has therefore been used as a desiccant in varnishes. For the same reason, it is widely used as a sketch / underpaint in oil painting and you would be able continue with the actual painting the next day.
Burnt Umber was originally formed from a natural earth color pigment which contained iron oxide and manganese oxide. It was picked up in the mountainous regions of Umbria, hence the name in recent times. By burning the powder, not only did the color become more intense and dark on calcination, but impurities also burned away, making the mixture with linseed oil even stronger chemically.
Today, the exact same colour is obtained synthetically with, for example, the pigment PBr7, which is in our tubes with Burnt Umber
Never before has so much Burnt Umber been sold as in our time. In our time it is used a lot – not just as a primer or underpaint, but throughout the painting process when working in layers. If you do not work in layers, and are more to alla prima, the color is almost indispensable in wet-in-wet mixtures with other colours. The explanation is probably simple, that the world is basically more brown and gray in most places, than vibrant and highly chromatic. Several of the clear colours are intentionally made ‘dirty’ or muted in areas with burnt umbra.
Both Raw and Burnt Burnt have been used in art since time immemorial. Raw / natural umber was applied in Neolithic (Stone Age) art. Renaissance and Baroque artists particularly liked to use the colour. It is actually only twice that the colour has been out of fashion. In the Middle Ages, clearer colours were preferred. If we go back in time to the Impressionists (especially Pissarro), they were against the use of this earth color and black. Again, it was a preference for clearer, brighter colours, but no doubt also a rebellion against the established Parisian and academic salon art who were happy with the color
This oil paint can and must be mixed with oil paints from other manufacturers. The same goes for paint media. Since this paint is such a chemically pure and simple product without mysterious fillers, it must also be mixed with your own favourite paint medium, whether it is dammar and linseed oil, stand oil, black oil with litharge, Liquin™, Oil gel™ Maroger, lavender spikeoil, etc. For good control over consistency and detail work, we recommend our own paint medium. If you use solvents to clean brushes outdoors or in a ventilated room, Gamsol™, turpentine, Terpenoid™ Alcohol and ethanol, etc can be used. If, on the other hand, you do not like solvents, you can use special cleansing soap or liquid brown soap for the same purpose.
Degree of lightfastness
Semi transparent
Burnt Umber is not toxic, but must not be eaten or otherwise ingested. The product has not been allergy-tested, but if you only use it for its intended purpose – to paint with a brush and palette knife – there is no immediate health risk.
This colour is known internationally as: Burnt Umber | Brændt Umbra | Terre d’ombre brûlée| Terra d’ombra bruciata | Gebrannte Umbra
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