Stories in Colour

What makes two volcano-born pigments so dangerous? Hint: they weren’t scorching hot when artists used them. Orpiment and realgar both contain arsenic, a foe we’ve previously faced on ‘Stories in Colour’.From volcanoes to ancient alchemical practices, art historian Evie Hatch joins Beks to uncover the origins and histories of these orange and yellow pigments. Together, they discuss how orpiment and realgar have been used, where their names come from and the risks artists faced painting with them.-------Evie Hatch is an art historian specialising in the history and characteristics of artist pigments. She is the writer and presenter of Jackson's Art Pigment Stories series and author of the 2025 book ‘Pigment Stories: The History of Artists' Colour’.-------You can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-------Paintings mentioned:Titian, ‘The Holy Family with a Shepherd’, About 1510 https://www.nationalgallery.org.uk/paintings/titian-the-holy-family-with-a-shepherd Titian, ‘Bacchus and Ariadne’, 1520-3 https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne Jacopo Tintoretto, ‘Christ washing the Feet of the Disciples’, About 1575-80 https://www.nationalgallery.org.uk/paintings/jacopo-tintoretto-christ-washing-the-feet-of-the-disciples Jacopo Tintoretto, ‘The Origin of the Milky Way', About 1575 https://www.nationalgallery.org.uk/paintings/jacopo-tintoretto-the-origin-of-the-milky-way Rachel Ruysch, ‘Flowers in a Vase’, About 1685 <a href="https://www.nationalgallery.org.uk/paintings/rachel-ruysch-flowers

Travel with us beyond the sea to look at ultramarine, a pigment that was once even more precious than gold.In this episode, writer Victoria Finlay joins Beks for a discussion on how researching ultramarine took her to Afghanistan. She journeyed to the blue mines where you can find lapis lazuli, the semi-precious stone ultramarine comes from. Along the journey, we pause to look at some of the National Gallery’s paintings – including one noteworthy for its lack of ultramarine...-------Victoria has written several books about colour - including 'Colour, Travels through the Paintbox' and 'The Brilliant History of Color in Art' - which involved travelling across the globe to the very places that ancient pigments and dyes came from. Her most recent book is about the hidden histories of fabric.-------Watch the full episode on YouTube: https://www.youtube.com/watch?v=8lOs0_Yi-G8 You can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-------Paintings mentioned:English or French (?), ‘The Wilton Diptych’, About 1395-9 https://www.nationalgallery.org.uk/paintings/english-or-french-the-wilton-diptych Michelangelo, ‘The Entombment (or Christ being carried to his Tomb)’, About 1500-1 https://www.nationalgallery.org.uk/paintings/michelangelo-the-entombment-or-christ-being-carried-to-his-tomb Sassoferrato, ‘The Virgin and Prayer’, 1640-50 https://www.nationalgallery.org.uk/paintings/sassoferrato-the-virgin-in-prayer Titian, ‘Bacchus and Ariadne’, 1520-3 https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne<

Welcome back to a new series of 'Stories in Colour'. To kick off, we’re tackling one of the topics we received the most questions about − synaesthesia.Join Beks and this week’s guests, composer Dr Deborah Pritchard and leading expert on synaesthesia Professor Jamie Ward, as they set out to answer questions such as: What is synaesthesia and what might yellow sound like?We are also joined in the studio by violinist Greta Mutlu and cellist Richard Harwood. They help bring Deborah’s own personal experience of synaesthesia to life through music.-------Jamie is a Professor of Cognitive Neuroscience at the University of Sussex. He is one of the world's leading experts on synaesthesia and is the author of several books, including ‘The Frog Who Croaked Blue: Synesthesia and the Mixing of the Senses’.Deborah is an award-winning British composer known for her work relating to synaesthesia. She has been performed worldwide by the London Symphony Orchestra, BBC Symphony Orchestra and more. She is Associate of The Faculty of Music, Oxford and the Royal Academy of Music and was Visiting Fellow at Keble College, Oxford from 2022-2023.-------Watch the full episode on YouTube: https://www.youtube.com/watch?v=Tko6NE4po0YYou can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-------Paintings mentioned: Sassoferrato, ‘The Virgin in Prayer’, 1640-50 https://www.nationalgallery.org.uk/paintings/sassoferrato-the-virgin-in-prayer Claude Monet, ‘Water-Lilies’, after 1916 https://www.nationalgallery.org.uk/paintings/claude-monet-water-lilies Edvard Munch, ‘The Scream’, 1893. The National Museum, Oslo https://www.nasjonalmuseet.no/en/collection/object/NG.M.00939 -------Further reading: </span

What does colour sound like? Why was mauve the brat green of the Victorian era? And is pink really just for girls?Welcome back to another series of 'Stories in Colour', the National Gallery's vibrant podcast. Join us on a journey that travels from mines in Afghanistan, to the East End of Victorian London. Hear from curators, scientists, historians and artists, for fresh perspectives and unexpected discoveries.The first episode of series two is out now on YouTube and wherever you get your podcasts: https://www.nationalgallery.org.uk/podcast

When the artist Louise Nevelson immigrated to America as a child, she was told that ‘the streets... would be paved in gold’. Obviously, they weren’t, but that hasn’t stopped modern artists turning pretty much everything else golden. Even a toilet. Join National Gallery Courses and Events Programmer Caroline Miller, Associate Curator of Contemporary and Modern Priyesh Mistry and host Beks in the final episode of our sparkling miniseries, where we look to uses of gold in modern and contemporary art. From glistening gold in Gustav Klimt’s ‘The Kiss’ to an artwork so valuable it has hardly ever been displayed. We explore what gold has meant for contemporary artists and how they have tested the limits of this sparkling colour and material. Caroline is the Courses and Events Programmer at the Gallery. She develops online and in-person courses that expand access and engagement for the National Gallery’s audiences worldwide. Priyesh is Associate Curator, Contemporary and Modern at the National Gallery where he works towards an ambitious programme to integrate contemporary art within the context of the museum and its historic collections. _______Watch the full episode on our YouTube channel: https://www.youtube.com/watch?v=Z3I4VzE_QPIYou can email us with any questions via [email protected] Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast _______Paintings mentioned:Joseph Beuys, ‘How to Explain Pictures to a Dead Hare’, 1965. Galerie Schmela, Düsseldorf [Performance art] https://www.artgallery.nsw.gov.au/collection/works/434.1997.9/ Anselm Kiefer, 'Mein Rhine', 2024. Thaddaeus Ropac, Salzburg Villa Kast [Exhibition] https://ropac.net/online-exhibitions/171-anselm-kiefer-mein-rhein/ Jan van Eyck, ‘The Arnolfini Portrait’, 1434. The National Gallery, London https://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait <span class="ql-si

When did gold become a colour? In this episode we journey from the majestic mosaics of the Byzantine era to the brilliantly burnished panel paintings of the early Renaissance to answer this very question. Join Laura Llewellyn, National Gallery Curator of Italian Paintings before 1500, art historian and educator Ben Street and National Gallery host Beks on this sparkling adventure. Together, they delve into the Gallery’s paintings to explore how artists were creating with gold and capturing this glittering metal in paint. Laura Llewellyn is Curator of Italian Paintings Before 1500 here at the National Gallery. She was also the co-curator of our exhibition ‘Siena: The Rise of Painting, 1300-1350'. Ben Street is an art historian and educator. He is the author of ‘How to Enjoy Art: A Guide for Everyone’ and the award-winning children’s book ‘How to be an Art Rebel’. _______Watch the full episode on our YouTube channel: https://youtu.be/gisKAcY-5XAYou can email us with any questions via [email protected] out more about the podcast on our website: https://www.nationalgallery.org.uk/podcast_______Paintings mentioned:Masaccio, 'The Virgin and Child', 1426. The National Gallery, London https://www.nationalgallery.org.uk/paintings/masaccio-the-virgin-and-child Jacopo di Cione, 'The Crucifixion', about 1369-70. The National Gallery, London https://www.nationalgallery.org.uk/paintings/jacopo-di-cione-the-crucifixion Bridget Riley, 'Messengers', 2019. The National Gallery, London © 2019 Bridget Riley https://www.nationalgallery.org.uk/paintings/bridget-riley-messengers Fra Angelico, 'Fiesole San Domenico Altarpiece', about 1423-4. The National Gallery, London https://www.nationalgallery.org.uk/paintings/fra-angelico-christ-glorified-in-the-court-of-heaven<span class="q

Welcome back to Stories in Colour! And welcome to the first episode of our new miniseries in which we'll be telling the story of a rare, sparkling and glistening colour – or should we say material?Join Nelly von Aderkas from the National Gallery’s Scientific department and host Beks as they dive into the ancient origins of gold! From colliding supernovas to the tomb of Tutankhamun and the man with the Midas touch, we will be exploring the materiality of gold, where this precious metal comes from and its symbolism in art and literature.Nelly is a Specialist Scientist and Organic Analyst at the National Gallery with a background in paintings conservation._______Watch the full episode on our YouTube channel: https://www.youtube.com/watch?v=-z2Xr4O8sqEYou can email us with any questions via [email protected] out more about the podcast on our website: https://www.nationalgallery.org.uk/podcast_______Paintings mentioned:Jacopo di Cione, 'The Crucifixion', about 1369-70. The National Gallery, London https://www.nationalgallery.org.uk/paintings/jacopo-di-cione-the-crucifixion Nicolas Poussin, 'Midas Washing at the Source of the Pactolus', ca. 1627. The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/437328 Jean-François de Troy, 'The Capture of the Golden Fleece', 1742-3. The National Gallery, London https://www.nationalgallery.org.uk/paintings/jean-francois-de-troy-the-capture-of-the-golden-fleece Nicolas Poussin, 'The Adoration of the Golden Calf', 1633-4. The National Gallery, London https://www.nationalgallery.org.uk/paintings/nicolas-poussin-the-adoration-of-the-golden-calf __

Welcome to a new miniseries of ‘Stories in Colour’. The National Gallery’s vibrant podcast returns to tell the story of a rare, sparkling and glistening colour – or should we say material? It's been called the tears of the gods, the sweat of the sun, a barbaric relic and a universal language. Join us as we trace the use of gold across the ages! From the tombs of Ancient Egypt to Renaissance altarpieces, all the way to a currently missing golden toilet. The first episode in our three-part miniseries releases on Wednesday 19 November 2025. Episodes will release weekly, finishing on 3 December 2025.

What exactly is a rainbow and how is it formed? Why does it have seven colours? And what have rainbows symbolised in mythologies and art? Join colour expert Dr Alexandra Loske, National Gallery Principal Scientist Joseph Padfield and National Gallery host Beks Leary as they cover rainbows from Noah’s Ark to Olafur Eliasson, and Pink Floyd's Dark Side of the Moon to Georges Seurat’s ‘The Rainbow’ study.Alexandra is a colour expert, art historian and museum curator. Her exhibition 'Colour: A Chromatic Promenade through the Royal Pavilion' is on display at The Royal Pavilion in Brighton until October 2025. She is also author of 'The Artist's Palette' and 'Colour: A Visual History'. Joseph is a Principal Scientist at the National Gallery. He brings a wealth of expertise across multiple domains, including data management, digital infrastructure, conservation documentation, digital imaging, web development, preventive conservation, museum lighting, colour science, and the technical examination of paintings. -----Watch the full episode on YouTube: https://youtu.be/XjaFKMexBygYou can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast -----Paintings mentioned:Angelica Kauffman RA, ‘Colouring’, 1778-80. Royal Academy of Arts, London © Photo: Royal Academy of Arts, London. Photographer: John Hammond https://www.royalacademy.org.uk/art-artists/work-of-art/colour Jan Van Eyck, ‘The Annunciation’, about 1434/1436. National Gallery of Art, Washington https://www.nga.gov/artworks/46-annunciation Bartolomé Bermejo, ‘Saint Michael triumphant over the Devil with the Donor Antoni Joan’, 1468. The National Gallery, London https://www.nationalgallery.org.uk/paint

Why do we see purple as the colour of royalty? It all starts on the Mediterranean coast with some unassuming, and eventually very unfortunate, seasnails.Travel back to ancient times with colour specialist Victoria Finlay and National Gallery host Beks Leary to trace the story of Tyrian purple through time.Victoria has written several books about colour – including 'Colour, Travels through the Paintbox' and 'The Brilliant History of Color in Art' – which involved travelling across the globe to the very places that ancient pigments and dyes came from. Her most recent book is about the hidden histories of fabric.-----Watch the full episode on YouTube: https://youtu.be/kcPMFsafav8You can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast -----Paintings mentioned:Peter Paul Rubens, ‘La Découverte de la Pourpre un phenicien trouve grace a son chien un coquillage produisant la teintre rouge’, about 1636. Musée Bonnat, Bayonne, France © Musée Bonnat, Bayonne, France / Photo Josse/Scala, Florence https://webmuseo.com/ws/musee-bonnat-helleu/app/collection/record/1923 Raphael, ‘The Dream of a Knight’, about 1504. The National Gallery, London https://www.nationalgallery.org.uk/paintings/raphael-the-dream-of-a-knight Lorenzo Costa, 'Portrait (supposed to be of Battista Fiera)', 1490-5. The National Gallery, London https://www.nationalgallery.org.uk/paintings/lorenzo-costa-portrait-supposed-to-be-of-battista-fiera Master of the Bruges Passion Scenes, 'Christ presented to the People', about 1510. The National Gallery, London <a href="

Where did all the colour go? And how might Western culture have feared it, or deemed it superficial, in art and philosophy? We celebrate the 25th anniversary of seminal book ‘Chromophobia’ with its author David Batchelor, who reflects on these ideas a quarter of a century on. David speaks to National Gallery host Beks Leary about ideas of colour from philosopher Plato and artist Paul Cezanne, to the film ‘The Wizard of Oz’, photojournalist Don McCullin and pop artist Andy Warhol. They also ask the pressing question: ‘is beige a passive aggressive colour?’ David Batchelor is an artist and writer based in London, who, for thirty years, has been concerned with our experience of colour within the modern urban environment, and with historical conceptions of colour within Western culture. His work comprises sculpture, installation, drawing, painting, photography and animation.-----Watch the full episode on YouTube: https://youtu.be/bOrd81eklxMYou can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast -----Artworks mentioned: Paul Cezanne, ‘Hillside in Provence’, about 1890-2. The National Gallery, London https://www.nationalgallery.org.uk/paintings/paul-cezanne-hillside-in-provence Jean-Auguste-Dominique Ingres, ‘Madame Moitessier’, 1856. The National Gallery, London https://www.nationalgallery.org.uk/paintings/jean-auguste-dominique-ingres-madame-moitessier Pierre-Auguste Renoir, ‘The Skiff (La Yole)’, 1875. The National Gallery, London https://www.nationalgallery.org.uk/paintings/pierre-auguste-renoir-the-skiff-la-yole <span

Why does the colour green remind you of poison and radioactivity? We're telling the story of two toxic green pigments to find out. Their stories interact with artists like Berthe Morisot, Dante Gabriel Rossetti and William Morris, as well as the less likely figure of Napoleon Bonaparte. And we go for a very good nosy around Victorian libraries. Join cultural historian Kassia St Clair and National Gallery host Beks Leary to ask just how deadly these historic pigments really are! Kassia is the author of books including 'The Secret Lives of Colour', 'The Golden Thread' and 'Liberty: Design. Pattern. Colour'. She specialises in telling stories about the overlooked and every day. -----Watch the full episode on YouTube: https://youtu.be/9PIn-7FesV8 You can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast -----Paintings mentioned:Camille Pissarro, ‘The Côte des Bœufs at L'Hermitage’, 1877. The National Gallery, London https://www.nationalgallery.org.uk/paintings/camille-pissarro-the-cote-des-boeufs-at-l-hermitage  Edouard Manet, ‘Music in the Tuileries Gardens’, 1862. The National Gallery, London https://www.nationalgallery.org.uk/paintings/edouard-manet-music-in-the-tuileries-gardens  Dante Gabriel Rossetti, ‘Veronica Veronese’, 1872. The Delaware Art Museum © Delaware Art Museum / Samuel and Mary R. Bancroft Memorial / Bridgeman Images https://emuseum.delart.org/objects/321/veronica-veronese  Berthe Morisot, ‘Summer’s Day’, about 1879. The National Gallery, London <a href="https://www.nationalgallery.org.uk/paintings/berthe-morisot-summer-

We're asking how we feel about colour – or more accurately how colours make us feel – and whether that's the same for all of us. Join colour specialist Zeynep Sagir and National Gallery host Beks Leary to get emotional about colour. Along the way, we talk about Pablo Picasso’s ‘Blue Period’ and Derek Jarman’s final film ‘Blue’, the calming green of John Constable’s ‘The Cornfield’, and Mark Rothko’s colour field abstractions. And we’ll see just how cultural our perception of colour really is. Zeynep is an artist, colour consultant, and founder of The Colour Club. She holds a Master’s degree from Central Saint Martins and spent two years researching colour psychology. Since graduating, she has gone on to become a certified colour consultant and colour therapist. Through The Colour Club, Zeynep runs workshops, hosts events, and offers consultancy, as well as publishing articles and interviews. Find out more about The Colour Club on Instagram: https://www.instagram.com/thecolourclub/ -----Watch the full episode on YouTube: https://youtu.be/CN0KgUJtjJAYou can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast -----Paintings mentioned: John Constable, ‘The Cornfield’, 1826. The National Gallery, London https://www.nationalgallery.org.uk/paintings/john-constable-the-cornfield Derek Jarman, ‘Blue’, 1993. Tate https://www.tate.org.uk/art/artworks/jarman-blue-t14555 Vincent van Gogh, ‘Van Gogh’s Chair’, 1888. The National Gallery, London https://www.nationalgallery.org.uk/paintings/vincent-van-gogh-van-gogh-s-chair<s

We're on the search for the 'perfect red' with a pigment and dye that was so prized that it inspired international espionage and piracy, carried the death penalty if exported without a license, and built empires. But today you might find it in your strawberry yoghurt. This is the story of how bugs turned the world red with historian and writer Amy Butler Greenfield and National Gallery host Beks Leary. Amy is the granddaughter and great-granddaughter of dyers, and her award-winning history of cochineal, 'A Perfect Red', has been published in eight languages. A popular speaker on radio and television programs, Amy was born in Philadelphia, studied history at Oxford, and now lives with her family in Oxfordshire. -----Watch the full episode on YouTube: https://youtu.be/Z2jEf3QH_hoYou can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----Paintings mentioned: Workshop of Albrecht Dürer with Hans Baldung Grien, ‘The Virgin and Child ('The Madonna with the Iris')’, about 1500-10. The National Gallery, London https://www.nationalgallery.org.uk/paintings/workshop-of-albrecht-durer-with-hans-baldung-grien-the-virgin-and-child-the-madonna-with-the-iris Titian, ‘The Holy Family with a Shepherd’, about 1510. The National Gallery, London https://www.nationalgallery.org.uk/paintings/titian-the-holy-family-with-a-shepherd Titian, 'Diana and Callisto’, 1556-9. The National Gallery, London https://www.nationalgallery.org.uk/paintings/titian-diana-and-callisto Further reading:Amy Butler Greenfield, ‘A Perfect Red: Empire, Espionage, and the Quest for the Color of Desire’, 2005 For more information on ‘The Virgin and Child ('The

Meet an enigmatic pigment discovered entirely by accident at the start of the 18th century. Its story involves a rogue inventor with an unlikely connection to Doctor Frankenstein, a characterful trio of Johanns, and a renowned Botticelli forgery. This pigment came to be known as Prussian blue or Berlin blue. Before its discovery, a range of blue pigments existed but each had a significant flaw: natural ultramarine was prohibitively expensive, smalt discoloured, azurite turned green and indigo faded. Join colour specialist Evie Hatch and National Gallery host Beks Leary for a conversation about the pigment most famously seen in the blue revolution of Japanese woodblock printing, which inspired the Impressionists, as well as in earlier Rococo painting. Evie Hatch is an art historian specialising in the history and characteristics of artist pigments. She is the writer and presenter of Jackson's Art Pigment Stories series. -----Watch the full episode on YouTube: youtu.be/WK1GSvP6VYsYou can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----Paintings mentioned: Paolo Veronese’s Four Allegories of Love series, about 1575: https://www.nationalgallery.org.uk/paintings/search-the-collection?q=Four+Allegories+of+Love&tpf=&tpt=&acf=&act=  Probably by Jean-Baptiste Perronneau, A Girl with a Kitten, 1743. The National Gallery, London https://www.nationalgallery.org.uk/paintings/probably-by-jean-baptiste-perronneau-a-girl-with-a-kitten  Katsushika Hokusai, Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), about 1830-32. The Metropolitan Museum of Art, New York <a href="https://www.metmuseum.org/art/collection/search/45434" rel="noopener

Welcome to Stories in Colour! We're starting at the very beginning to ask an age-old question: are the colours you see, the same as the colours I see? Join Professor Anya Hurlbert from Newcastle University and National Gallery host Beks Leary as they ask whether colour is real and how exactly we see it, stopping off to look at paintings from the National Gallery along the way. We go back to the viral dress that divided the internet in 2015 – was it blue and black, or was it white and gold? This was the moment so many of us discovered that colour is our own – in Anya’s words – personal possession. Anya is a Professor of Visual Neuroscience and Dean of Advancement at Newcastle University. Her research focuses on human visual perception: how and why we see what we see. As Scientist Trustee at the National Gallery from 2010-2018, she worked with us on our 2014 ‘Making Colour’ exhibition – bringing together art and science to explain how artists overcame the technical challenges involved in creating colour. -----Watch the full episode on YouTube: youtu.be/gYTWp_iLRh4You can email us with any questions via [email protected] out more about the podcast on our website: www.nationalgallery.org.uk/podcast-----Paintings mentioned: Joseph Mallord William Turner, The Fighting Temeraire, 1839. The National Gallery, London https://www.nationalgallery.org.uk/paintings/joseph-mallord-william-turner-the-fighting-temeraire Pierre-Auguste Renoir, The Skiff (La Yole), 1875. The National Gallery, London https://www.nationalgallery.org.uk/paintings/pierre-auguste-renoir-the-skiff-la-yole Claude Monet, Stacks of Wheat (End of Summer), 1890–91. The Art Institute of Chicago https://www.artic.e

How has colour changed the world? A vibrant new podcast from the National Gallery, Stories in Colour launches with our first two episodes on Wednesday 28 May 2025.The Times ★★★★ ‘There’s lots to enjoy here.’  In each episode, we uncover the hidden mysteries woven into colour from antiquity to the present day. Along the way, you'll hear from curators, scientists, historians, artists, and more experts, looking at humanity’s efforts to make colour and make meaning with it. And amongst these stories, you will see - and hear - the National Gallery’s paintings in a whole new spectrum of light.