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第一段
1 .Listen to part of the lecture in an art history Class.
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第二段
1 .Okay. So, When We Were discussing GainSborough's painting, the Blue Boy,
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2 .Which he painted in 1770, I mentioned the story that the painting might have been an experiment.
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3 .The result of a Challenge.
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4 .lt was believed that blue couldn't be an important color in a painting because...Well...it tends to recede into the background.
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5 .Not good for your main subject, right?
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第三段
1 .So to show otherwise, Gainsborough created the Blue Boy,
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2 .with the boy featured large in his famous blue clothes...and...well...l guess he proved his point.
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第四段
1 .But there was another challenge to blue.
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2 .It was very very expensive back then.
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3 .Now of course, because of modern chemistry, any color is available in tubes at any art supply store.
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4 .But in the 18th century and before, it wasn't so easy.
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第五段
1 .And blue...well...the color ultramarine, the most desired shade of blue,
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2 .was made from the precious stone, Lapis Lazuli, which had to be imported all the way from Afghanistan.
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第六段
1 .And the second most favorite shade of blue,
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2 .after ultramarine made from Lapis Lazuli, was a shade a blue that came from another precious stone, Azurite.
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第七段
1 .But Azurite was...well...harder to work with.
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2 .There's evidence that artists would try to get around these difficulties.
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3 .For example, use pigment from lapis lazuli or azurite very sparingly,
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4 .and also use something cheaper, like smalt, which was made of ground glass.
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5 .Thing is, smalt became discolored over time.
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6 .So many artists probably avoided blues altogether rather than use something cheap and impermanent.
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第八段
1 .So, blue, and especially ultramarine pigment,
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2 .was a luxury, a status symbol, worth even more than gold at times.
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3 .And you even have the wealthy ordering paintings with ultramarine to show others that they could afford something made from this precious pigment,
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4 .much in the same way they would order gold leaf.
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第九段
1 .Actually, the ancient Egyptians did manage to make an artificial blue,
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2 .the first synthetic pigment in fact, if you can believe that.
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3 .They passed the formula on to the Greeks and Romans, but then it was lost.
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第十段
1 .Anyway, not only was lapis lazuli hard to get, it was also hard to process.
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2 .The recipe was difficult.
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3 .The stone had to be ground finely, not easy to do with a rock,
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4 .then mixed with melted wax, resins and oils, wrapped in a cloth and knitted like bread dough.
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5 .The fine particles of ultramarine were then separated from the rest.
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6 .The process was time-consuming, which also contributed to the high cost of producing ultramarine,
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7 .and it didn't even yield much usable pigment.
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第十一段
1 .As a result, the French government sponsored a competition in 1824 to find a cheaper way to make ultramarine pigment.
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2 .And soon after a process was demonstrated where a combination of coal,
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3 .sulfur and other cheap, commonplace substances were heated, creating a suitable synthetic substitute for lapis lazuli.
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第十二段
1 .So there's no doubt that 19th-century artists,
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2 .after good synthetic versions were available, used more ultramarine.
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3 .Think of the impressionists, for example.
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4 .They had a lot more choices or at least, less expensive choices, than painters not that long before them.
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