No other known historical source mentions Dippel in this context. He borrowed the potash from Dippel, who had used it to produce his animal oil. Diesbach was attempting to create a red lake pigment from cochineal, but obtained the blue instead as a result of the contaminated potash he was using. The story involves not only Diesbach, but also Johann Konrad Dippel. In 1731, Georg Ernst Stahl published an account of the first synthesis of Prussian blue. François Boucher used the pigment extensively for both blues and greens. At around the same time, Prussian blue arrived in Paris, where Antoine Watteau and later his successors Nicolas Lancret and Jean-Baptiste Pater used it in their paintings. Around 1710, painters at the Prussian court were already using the pigment.
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To date, the Entombment of Christ, dated 1709 by Pieter van der Werff (Picture Gallery, Sanssouci, Potsdam) is the oldest known painting where Prussian blue was used. Diesbach had been working for Frisch since about 1701. Frisch himself is the author of the first known publication of Prussian blue in the paper Notitia Coerulei Berolinensis nuper inventi in 1710, as can be deduced from his letters. By August 1709, the pigment had been termed Preussisch blau by November 1709, the German name Berlinisch Blau had been used for the first time by Frisch. Not later than 1708, Frisch began to promote and sell the pigment across Europe. It is first mentioned in a letter written by Frisch to Leibniz, from March 31, 1708. The pigment replaced the expensive lapis lazuli and was an important topic in the letters exchanged between Johann Leonhard Frisch and the president of the Prussian Academy of Sciences, Gottfried Wilhelm Leibniz, between 17. It was named Preußisch blau and Berlinisch Blau in 1709 by its first trader. Instead, the blood, potash, and iron sulfate reacted to create a compound known as iron ferrocyanide, which, unlike the desired red pigment, has a very distinct blue hue. The original dye required potash, ferric sulfate, and dried cochineal. The pigment is believed to have been accidentally created when Diesbach used potash tainted with blood to create some red cochineal dye. ĢO) was probably synthesized for the first time by the paint maker Johann Jacob Diesbach in Berlin around 1706. Japanese painters and woodblock print artists, likewise, did not have access to a long-lasting blue pigment until they began to import Prussian blue from Europe. European painters had previously used a number of pigments such as indigo dye, smalt, and Tyrian purple, and the extremely expensive ultramarine made from lapis lazuli. Prussian blue pigment is significant since it was the first stable and relatively lightfast blue pigment to be widely used following the loss of knowledge regarding the synthesis of Egyptian blue. The Great Wave off Kanagawa by Hokusai, a famous artwork that makes extensive use of Prussian blue French chemist Joseph Louis Gay-Lussac gave cyanide its name, from the Ancient Greek word κύανος ( kyanos, "blue/cyan"), because of its Prussian blue color.
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In German, hydrogen cyanide is called Blausäure ("blue acid"). Prussian blue lent its name to prussic acid (hydrogen cyanide) derived from it. It is on the World Health Organization's List of Essential Medicines, the most important medications needed in a basic health system. The therapy exploits the compound's ion-exchange properties and high affinity for certain " soft" metal cations. In medicine, orally administered Prussian blue is used as an antidote for certain kinds of heavy metal poisoning, e.g., by thallium(I) and radioactive isotopes of caesium. The pigment is used in paints, and it is the traditional "blue" in blueprints and aizuri-e ( 藍摺り絵) Japanese woodblock prints. It contains variable amounts of other ions and its appearance depends sensitively on the size of the colloidal particles. It is prepared as a very fine colloidal dispersion, because the compound is not soluble in water. Prussian blue was the first modern synthetic pigment. Turnbull's blue is chemically identical, but is made from different reagents, and its slightly different color stems from different impurities. Prussian blue (also known as Berlin blue or, in painting, Parisian or Paris blue) is a dark blue pigment produced by oxidation of ferrous ferrocyanide salts.