Fugitive pigments, in painting, are non-permanentpigments (pigments that lighten in what is understood, said or defined to be a relatively short time when exposed to light).
While most paintings are supposed to be done with permanent pigments, painters have made work wholly or partially with fugitive pigments for a number of reasons: ignorance as to the permanence of the pigments, prioritising the appearance of the colours one can get with fugitive pigments over permanence, or the desire to have a painting change in appearance over time.
WHITE pigments were obtained from lime, gypsum, whiting or chalk, and white lead ; the latter was the native cerusite, a carbonate of lead which was in use as early as 400 B.C. Oxides of tin and zinc were also used as white pigments from a very early date.
Another very fugitive red colour known as dragon's blood was prepared from the resinous exudation of the tree called Pterocarpus draco, which was sometimes used as a glazing pigment when mixed with varnish, but it is easily destroyed when mixed with leads or chromates.
The Ultramarine pigment is prepared from the lazulite mineral by pounding it in a mortar to a fine powder, and by subjecting it to a prolonged and thorough grinding in water.
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