Editing Pastel

{{Short description|Powdered-pigment-based art medium}}
{{About|the art medium|the color family|Pastel (color)|other uses}}
{{more citations needed|date=February 2016}}
{{Use dmy dates|date=September 2021}}

[[Image:Flowers in a Green Vase by Leon Dabo.jpg|thumb|right|250px|[[Leon Dabo]], ''Flowers in a Green Vase,'' c. 1910s]]

A '''pastel''' ({{IPAc-en|US|p|æ|ˈ|s|t|ɛ|l}}) is an [[art medium]] that consists of powdered [[pigment]] and a [[binder (material)|binder]]. It can exist in a variety of forms, including a stick, a square, a pebble, and a pan of color, among other forms. The pigments used in pastels are similar to those used to produce some other colored visual arts media, such as [[oil paint]]s; the binder is of a neutral hue and low [[colorfulness|saturation]]. The color effect of pastels is closer to the natural dry pigments than that of any other process.<ref>Mayer, Ralph. The Artist's Handbook of Materials and Techniques. Viking Adult; 5th revised and updated edition, 1991. {{ISBN|0-670-83701-6}}</ref>

Pastels have been used by artists since the [[Renaissance]], and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium.

An artwork made using pastels is called a pastel (or a pastel drawing or pastel painting). ''Pastel'' used as a verb means to produce an artwork with pastels; as an adjective it means pale in color.

==Pastel media==
Pastel sticks or [[crayon]]s consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depend on the type of pastel and the type and amount of binder used. It also varies by individual manufacturer.

Dry pastels have historically used binders such as [[gum arabic]] and [[gum tragacanth]]. [[Methyl cellulose]] was introduced as a binder in the 20th century. Often a [[chalk]] or [[gypsum]] component is present. They are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper and create more tooth.

Dry pastel media can be subdivided as follows:
* ''Soft pastels'': This is the most widely used form of pastel. The sticks have a higher portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a higher proportion of dust. Finished drawings made with soft pastels require protecting, either framing under glass or spraying with a [[Fixative (drawing)|fixative]] to prevent smudging, although fixatives may affect the color or texture of the drawing.<ref>Marie-Lydie Joffre. "Should I 'fix' my Pastels and, if so, how?" 10 August 2013. http://www.marielydiejoffre.com/english/resource/faq_pastel_framing.html#fixation</ref> While possible, it is not recommended to use [[hair spray]] as fixative, as it might not be pH neutral and it might contain non-archival ingredients. White chalk may be used as a filler in producing pale and bright hues with greater luminosity.<ref name="Martin_p8">{{cite book|last=Martin|first=Judy|title=The Encyclopedia of Pastel Techniques|year=1992|publisher=Running Press|location=Philadelphia, Pennsylvania|isbn=1-56138-087-3|page=8}}</ref>
* ''Pan pastels'': These are formulated with a minimum of binder in flat compacts (similar to some makeup) and applied with special soft micropore sponge tools. No liquid is involved. A 21st century invention, pan pastels can be used for the entire painting or in combination with soft and hard sticks.
* ''Hard pastels'': These have a higher portion of binder and less pigment, producing a sharp drawing material that is useful for fine details. These can be used with other pastels for drawing outlines and adding accents. Hard pastels are traditionally used to create the preliminary sketching out of a composition.<ref name="Martin_p8" /> However, the colors are less brilliant and are available in a restricted range in contrast to soft pastels.
* ''Pastel pencils'': These are pencils with a pastel lead. They are useful for adding fine details.
[[Image:Commercial pastels.JPG|thumb|right|200px|Commercial oil pastels]]
In addition, pastels using a different approach to manufacture have been developed:
* ''[[Oil pastel]]s'': These have a soft, buttery consistency and intense colors. They are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative. They may be spread across the work surface by thinning with turpentine.<ref>{{cite book|last=Martin|first=Judy|title=The Encyclopedia of Pastel Techniques|year=1992|publisher=Running Press|location=Philadelphia, Pennsylvania|isbn=1-56138-087-3|page=9}}</ref>
* ''Water-soluble pastels'': These are similar to soft pastels, but contain a water-soluble component, such as [[polyethylene glycol]]. This allows the colors to be thinned out to an even, semi-transparent consistency using a water wash. Water-soluble pastels are made in a restricted range of hues in strong colors. They have the advantages of enabling easy blending and mixing of the hues, given their fluidity, as well as allowing a range of color tint effects depending upon the amount of water applied with a brush to the working surface.

There has been some debate within art societies as to what exactly qualifies as a pastel. The Pastel Society within the UK (the oldest pastel society) states the following are acceptable media for its exhibitions: "Pastels, including Oil pastel, Charcoal, Pencil, Conté, Sanguine, or any dry media". The emphasis appears to be on "dry media" but the debate continues.

==Manufacture==
In order to create hard and soft pastels, pigments are ground into a paste with water and a gum binder and then rolled, pressed or extruded into sticks. The name ''pastel'' is derived from [[Medieval Latin]] {{Lang|la-x-medieval|pastellum}} "[[woad]] paste," from [[Late Latin]] {{Lang|la|pastellus}} "paste." The [[French language|French]] word ''pastel'' first appeared in 1662.<ref>{{Cite web |title=Pastel FAQs |url=https://sheilaevans.art/more/pastel-faqs |access-date=2024-06-30 |website=SHEILA M. EVANS STUDIO |language=en-US}}</ref>

Most brands produce gradations of a color, the original pigment of which tends to be dark, from pure pigment to near-white by mixing in differing quantities of [[chalk]]. This mixing of pigments with chalks is the origin of the word ''pastel'' in reference to pale color as it is commonly used in cosmetic and fashion contexts.

A pastel is made by letting the sticks move over an abrasive ground, leaving color on the grain of the painting surface. When fully covered with pastel, the work is called a pastel ''painting''; when not, a pastel ''sketch'' or ''drawing''. Pastel paintings, being made with a medium that has the highest pigment concentration of all, reflect light without darkening [[refraction]], allowing for very [[saturation (color theory)|saturated]] colors.

==Pastel supports==
Pastel supports need to provide a "tooth" for the pastel to adhere and hold the pigment in place.  Supports include:

* [[laid paper]] (e.g. Ingres, Canson Mi Teintes)
* abrasive supports (e.g. with a surface of finely ground [[pumice]], marble dust, or [[rottenstone]])
* velour paper (e.g. Hannemühle Pastellpapier Velour) suitable for use with soft pastels is a composite of synthetic fibers attached to acid-free backing<ref>{{Cite book| publisher = Elsevier| isbn = 978-0-08-052462-7| last = Mortensen| first = Andreas| title = Concise Encyclopedia of Composite Materials| date = 2006}}</ref><ref>{{cite book | title=The Pastel Book | publisher=Watson-Guptill | date=1999 | last=Creevy | first=Bill | location=New York; Great Britain | page=33 | isbn=978-0-8230-3905-0}}</ref>

==Protection of pastel paintings==
[[Image:Scenery painter Schlosspark Charlottenburg berlin 20080423.jpg|thumb|Scenery painter in [[Charlottenburg|Schlosspark Charlottenburg]], Berlin]]
Pastels can be used to produce a permanent painting if the artist meets appropriate archival considerations.  This means:

* Only pastels with lightfast pigments are used. As it is not protected by a binder the pigment in pastels is especially vulnerable to light. Pastel paintings made with pigments that change color or tone when exposed to light suffer comparable problems to [[gouache]] paintings using the same pigments.
* Works are done on an acid-free archival quality support.  Historically some works have been executed on supports which are now extremely fragile and the support rather than the pigment needs to be protected under glass and away from light.
* Works are properly mounted and framed under glass so that the glass does not touch the artwork. This prevents the deterioration which is associated with environmental hazards such as air quality, humidity, mildew problems associated with condensation and smudging. [[Poly(methyl methacrylate)|Plexiglas]] is not used as it will create [[static electricity]]{{Explain|reason=how Plexiglas creates static electricity while other glasses do not|date=October 2024}} and dislodge the particles of pastel pigment.<ref>{{Cite web |title=Framing Pastelbord {{!}} Artist Surfaces |url=https://ampersandart.com/full/framing-pastelbord |access-date=2024-02-06 |website=Ampersand Art |language=en}}</ref>
* Some artists protect their finished pieces by spraying them with a [[fixative (drawing)|fixative]]. A pastel fixative is an aerosol varnish which can be used to help stabilize the small charcoal or pastel particles on a painting or drawing. It cannot prevent smearing entirely without dulling and darkening the bright and fresh colors of pastels. The use of hairspray as a fixative is generally not recommended as it is not acid-free and therefore can degrade the artwork in the long term. Traditional fixatives will discolor eventually.

For these reasons, some pastelists avoid the use of a fixative except in cases where the pastel has been overworked so much that the surface will no longer hold any more pastel. The fixative will restore the "tooth" and more pastel can be applied on top. It is the tooth of the painting surface that holds the pastels, not a fixative. Abrasive supports avoid or minimize the need to apply further fixative in this way. SpectraFix, a modern casein fixative available premixed in a pump misting bottle or as concentrate to be mixed with alcohol, is not toxic and does not darken or dull pastel colors. However, SpectraFix takes some practice to use because it's applied with a pump misting bottle instead of an aerosol spray can. It is easy to use too much SpectraFix and leave puddles of liquid that may dissolve passages of color; also it takes a little longer to dry than conventional spray fixatives between light layers.

[[Glassine]] (paper) is used by artists to protect artwork which is being stored or transported.  Some good quality books of pastel papers also include glassine to separate pages.

==Techniques==
[[File:Frottage 02.jpg|thumb|A pastel frottage created by rubbing pastel on paper laid over stone]]
[[File:Brooklyn Museum - On the Cliff - Theodore Robinson.jpg|thumb|''On the Cliff'' by [[Theodore Robinson]], 1887. A warm beige paper is used as a colored ground to enhance the pink colors. The rough textured ground provided by the paper also enhances the impressionistic style of the pastel work.]]

Pastel techniques can be challenging since the medium is mixed and blended directly on the working surface, and unlike paint, colors cannot be tested on a palette before applying to the surface. Pastel errors cannot be covered the way a paint error can be painted out. Experimentation with the pastel medium on a small scale in order to learn various techniques gives the user a better command over a larger composition.<ref>{{cite book|last=Martin|first=Judy|title=The Encyclopedia of Pastel Techniques|year=1992|publisher=Running Press|location=Philadelphia, Pennsylvania|isbn=1-56138-087-3|pages=10–11}}</ref>

Pastels have some techniques in common with painting, such as blending, [[masking (art)|masking]], building up layers of color, adding accents and highlighting, and [[shading]]. Some techniques are characteristic of both pastels and sketching mediums such as charcoal and lead, for example, [[hatching]] and [[crosshatching]], and [[gradation (art)|gradation]]. Other techniques are particular to the pastel medium.

* Colored grounds: the use of a colored working surface to produce an effect such as a softening of the pastel hues, or a contrast
* Dry wash: coverage of a large area using the broad side of the pastel stick. A cotton ball, paper towel, or brush may be used to spread the pigment more thinly and evenly.
* Erasure: lifting of pigment from an area using a [[kneaded eraser]] or other tool
* [[Feathering]]
* [[Frottage (art)|Frottage]]
* [[Impasto]]: pastel applied thickly enough to produce a discernible texture or relief
* [[Pouncing]]
* [[Resist techniques (art)|Resist techniques]]
* Scraping out
* [[Scumbling]]
* [[Sfumato]]
* [[Sgraffito]]
* [[Stippling]]
* Textured grounds: the use of coarse or smooth paper texture to create an effect, a technique also often used in watercolor painting
* Wet brushing

==Health and safety hazards==
Pastels are a dry medium and produce a great deal of dust, which can cause respiratory irritation. More seriously, pastels might use the same pigments as artists' paints, many of which are [[toxic]]. For example, exposure to [[cadmium pigments]], which are common and popular bright yellows, oranges, and reds, can lead to [[cadmium poisoning]]. Pastel artists, who use the pigments without a strong painting binder, are especially susceptible to such poisoning. For this reason, many modern pastels are made using substitutions for cadmium, chromium, and other toxic pigments, while retaining the traditional pigment names.<ref>[http://www.societyofcanadianartists.com/content/page.aspx?section=68&AspxAutoDetectCookieSupport=1 "Dry Pastel"] {{Webarchive|url=https://web.archive.org/web/20200314174534/https://societyofcanadianartists.com/content/page.aspx?section=68&AspxAutoDetectCookieSupport=1 |date=14 March 2020 }}, Society of Canadian Artists. Retrieved 26 November 2016.</ref> All brands that have the AP Label<ref>{{Cite web |last=Chaperon |first=Rebecca |title=Art Material Safety: Labelling "AP" or "CL" On Art Materials |url=https://www.artistrunwebsite.com/inspiration/729/Art+Material+Safety%3A+Labelling+%22AP%22+or+%22CL%22+On+Art+Materials}}</ref> by [[ASTM International]] are not considered toxic, and they might use extremely insoluble varieties of cadmium or cobalt pigments that will not be readily absorbed by the human body.<ref>{{Cite web |date=2021-09-15 |title=Working safely with Unison Colour pastels {{!}} Unison Colour |url=https://www.unisoncolour.com/working-safely-with-unison-colour-pastels/ |access-date=2024-02-06 |language=en-GB}}</ref> Although less toxic when swallowed, they should still be treated with care.<ref>{{Cite web |last=Inc |first=Golden Artist Colors |date=1996-01-01 |title=Will Cadmium Always Be On The Palette? |url=https://justpaint.org/will-cadmium-always-be-on-the-palette/ |access-date=2024-02-06 |website=Just Paint |language=en-US}}</ref>

==Pastel art in art history==
The manufacture of pastels originated in the 15th century.<ref name="Monnier">Monnier, Geneviève, "Pastel", Oxford Art Online</ref> The pastel medium was mentioned by [[Leonardo da Vinci]], who learned of it from the French artist [[Jean Perréal]] after that artist's arrival in Milan in 1499.<ref name="Monnier" /> Pastel was sometimes used as a medium for preparatory studies by 16th-century artists, notably [[Federico Barocci]]. The first French artist to specialize in pastel portraits was [[Joseph Vivien]].

During the 18th century the medium became fashionable for [[portrait]] painting, sometimes in a mixed technique with gouache. Pastel was an important medium for artists such as [[Jean-Baptiste Perronneau]], [[Maurice Quentin de La Tour]] (who never painted in oils),<ref>Monnier, Geneviève, "Maurice-Quentin de La Tour", Oxford Art Online</ref> and [[Rosalba Carriera]]. The pastel [[still life]] paintings and portraits of [[Jean-Baptiste-Siméon Chardin]] are much admired, as are the works of the Swiss-French artist [[Jean-Étienne Liotard]]. In 18th-century England the outstanding practitioner was [[John Russell (painter)|John Russell]]. In [[Colonial America]], [[John Singleton Copley]] used pastel occasionally for portraits.

In France, pastel briefly became unpopular during and after the [[French Revolution|Revolution]], as the medium was identified with the frivolity of the [[Ancien Régime]].<ref name="Werner_15" /> By the mid-19th century, French artists such as [[Eugène Delacroix]] and especially [[Jean-François Millet]] were again making significant use of pastel.<ref name="Werner_15">Werner, A., & Degas, E. (1977). ''Degas pastels''. New York: Watson-Guptill Publications. p. 15. {{ISBN|082301276X}}</ref> Their countryman [[Édouard Manet]] painted a number of portraits in pastel on canvas, an unconventional ground for the medium. [[Edgar Degas]] was an innovator in pastel technique, and used it with an almost [[expressionist]] vigor after about 1885, when it became his primary medium.<ref name="Werner_15" /> [[Odilon Redon]] produced a large body of works in pastel.

[[James Abbott McNeill Whistler]] produced a quantity of pastels around 1880, including a body of work relating to Venice, and this probably contributed to a growing enthusiasm for the medium in the United States.<ref>{{cite web |url=http://www.metmuseum.org/toah/hd/amdr2/hd_amdr2.htm |title=Nineteenth-Century American Drawings |work=Heilbrunn Timeline of Art History |publisher=[[The Metropolitan Museum of Art]] |access-date=27 August 2010}}</ref> In particular, he demonstrated how few strokes were required to evoke a place or an atmosphere. [[Mary Cassatt]], an American artist active in France, introduced the Impressionists and pastel to her friends in Philadelphia and Washington.

According to the Metropolitan Museum of Art's ''Time Line of Art History: Nineteenth Century American Drawings'': {{Blockquote|[Among American artists] by far the most graphic and, at the same time, most painterly wielding of pastel was Cassatt's in Europe, where she had worked closely in the medium with her mentor Edgar Degas and vigorously captured familial moments such as the one revealed in ''Mother Playing with Child''.}}
[[File:William Merritt Chase, Study of Flesh Color and Gold, 1888, NGA 103252.jpg|alt=View of a woman from behind|thumb|William Merritt Chase, Study of Flesh Color and Gold, 1888, [[National Gallery of Art]], NGA 103252]]
On the East Coast of the United States, the Society of Painters in Pastel was founded in 1883 by [[William Merritt Chase]], Robert Blum, and others.<ref>{{Cite book|title=William Merritt Chase: A Modern Master|last=Smithgall|first=Elsa|display-authors=etal|publisher=Yale University Press|year=2016|isbn=9780300206265|location=New Haven|page=204}}</ref> [[The Pastellists]], led by [[Leon Dabo]], was organized in New York in late 1910 and included among its ranks [[Everett Shinn]] and [[Arthur Bowen Davies]].  On the American West Coast the influential artist and teacher [[Pedro Joseph de Lemos]], who served as Chief Administrator of the [[San Francisco Art Institute]] and Director of the [[Stanford University]] Museum and Art Gallery, popularized pastels in regional exhibitions.<ref name="edwardsrw">{{cite book|last1=Edwards|first1=Robert W.| title=Pedro de Lemos, Lasting Impressions: Works on Paper| date=2015|publisher=Davis Publications Inc.| location=Worcester, Mass.|isbn=9781615284054|pages=64–65, pls. 3b, 5a, 7a-11b}}</ref> Beginning in 1919 de Lemos published a series of articles on "painting" with pastels, which included such notable innovations as allowing the intensity of light on the subject to determine the distinct color of laid paper and the use of special optics for making "night sketches" in both urban and rural settings.<ref>School Arts Magazine (Worcester, Mass.): 18.7, 1919, pp. 353–356; 19.10, 1920, pp. 596–600; 25.2, 1925, p. 77.</ref> His night scenes, which were often called "dreamscapes" in the press, were influenced by French [[Symbolism (arts)|Symbolism]], and especially [[Odilon Redon]].

Pastels have been favored by many modern and contemporary artists because of the medium's broad range of bright colors. Recent notable artists who have worked extensively in pastels include <!--NOTABLE artists with art in MUSEUM COLLECTIONS only, please--> [[Fernando Botero]], [[Francesco Clemente]], [[Daniel Greene (artist)|Daniel Greene]], [[Wolf Kahn]], [[Paula Rego]] and [[R. B. Kitaj]].

==Pastels==
<gallery widths="140" heights="140">
File:Rosalba Carriera Self-portrait.jpg|[[Rosalba Carriera]], ''Self-portrait holding a portrait of her sister'', 1715, pastel on paper; Galleria degli [[Uffizi]], [[Florence]]
File:Louis15-1.jpg|[[Maurice Quentin de La Tour]], a bravura pastel portrait of ''[[Louis XV of France|Louis XV]]'', 1748
File:Chardin pastel selfportrait.jpg|[[Jean-Baptiste-Siméon Chardin]]. ''Self Portrait'', 1771, pastel on paper, The Louvre
File:Porträt der Madame Michel-Lévy (1882) - Edouard Manet (National Gallery of Art, Washington D.C.).jpg|[[Édouard Manet]], ''Madame Michel-Lévy'', 1882, pastel on canvas, [[National Gallery of Art]]
File:Whistler James Venetian Scene 1879.jpg|[[James Abbott McNeill Whistler]], ''Venetian Scene'', 1879, pastel on paper
File:Edgar Germain Hilaire Degas 029.jpg|[[Edgar Degas]], ''La Toilette'' (Woman Combing Her Hair), c. 1884–1886, pastel on paper, [[Pushkin Museum]], Moscow
File:Odilon Redon (French - Baronne de Domecy - Google Art Project.jpg|[[Odilon Redon]], ''Baronne de Domecy'', c. 1900, pastel and graphite on light brown [[laid paper]], [[J. Paul Getty Museum]]
File:Roslin, Marie-Suzanne - Jean-Baptiste Pigalle - 18th century.jpg|18th century pastel, depicting Jean-Baptiste Pigalle by [[Marie-Suzanne Giroust]] on gray-blue paper
File:Gustaf Lundberg - Portrait of Charles-Joseph Natoire - WGA13778.jpg|Portrait of [[Charles-Joseph Natoire]] executed in pastel
File:Boucher par Gustav Lundberg 1741.jpg|[[François Boucher]] depicted by [[Gustav Lundberg]]
File:Cassatt Mary Sleepy Baby 1910.jpg|[[Mary Cassatt]], ''Sleepy Baby'', 1910
File:Flowers in a Green Vase by Leon Dabo.jpg|[[Leon Dabo]], ''Flowers in a Green Vase,'' c. 1910s, pastel
File:Hiremy-Hirschl Portrait of a young woman c. 1915.jpg|[[Adolf Hirémy-Hirschl]], ''Portrait of a Young Woman,'' c. 1915, pastel on orange paper, [[Art Institute of Chicago]]
</gallery>

==See also==
{{div col|colwidth=25em}}
* [[Caran d'Ache (company)]]
* [[Color theory]]
* [[Tortillon]]
{{Div col end}}

==References and sources==

===References===
{{Reflist}}

===Sources===
* Pilgrim, Dianne H. [https://www.jstor.org/pss/1594084 "The Revival of Pastels in Nineteenth-Century America: The Society of Painters in Pastel"]. ''[[American Art (journal)|American Art Journal]]'', Vol. 10, No. 2 (Nov. 1978), pp.&nbsp;43–62. {{doi|10.2307/1594084}}.
* Jeffares, Neil. ''Dictionary of Pastellists Before 1800''. London: Unicorn Press, 2006. {{ISBN|0-906290-86-4}}.

==Further reading==
*[[Philippe Saunier|Saunier, Philippe]] & [[Thea Burns]]. (2015) ''The art of the pastel''. [[Abbeville Press]]. (Translated by Elizabeth Heard) {{ISBN|978-0789212405}}

==External links==
{{Commons}}
* [http://www.artdupastelenfrance.fr/ Art du Pastel en France]
* [http://www.pastelsec.com/ Pastel society of eastern Canada]
* [http://www.pastelsocietyofamerica.org/ Pastel society of America]
* [http://www.pastellists.com/ Dictionary of pastellists before 1800]

{{Authority control}}

[[Category:Visual arts materials]]
[[Category:Visual arts media]]
[[Category:Visual arts]]
[[Category:Pastel|*]]