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This article discusses the discovery of phosphorescent lithopone on watercolor drawings by American artist John La Farge dated between 1890 and 1905 and the history of lithopone in the pigment industry in the late 19th and early 20th centuries. Despite having many desirable qualities for use in white watercolor or oil paints, the development of lithopone as an artists’ pigment was hampered by its tendency to darken in sunlight. Its availability to, and adoption by, artists remain unclear, as colormen's trade catalogs were generally not explicit in describing white pigments as containing lithopone. Further, lithopone may be mistaken for lead white during visual examination and its short-lived phosphorescence can be easily missed by the uninformed observer. Phosphorescent lithopone has been documented on only one other work-to-date: a watercolor by Van Gogh. In addition to the history of lithopone's manufacture, the article details the mechanism for its phosphorescence and its identification aided by Raman spectroscopy and spectrofluorimetry.

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When examining a lithopone pigment pricelist, one might notice that prices can vary significantly between different grades of lithopone. Generally, there are two main types Lithopone 28 and Lithopone 60, with the numbers denoting the percentage of zinc sulfide content. Lithopone 28, with a lower zinc sulfide content, is often more affordable compared to Lithopone 60, which offers superior whiteness and opacity. The choice between these grades depends largely on the specific requirements of the end application.


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As technological advancements continue, the demand for anatase titanium dioxide is expected to grow. This growth will likely drive innovation in production techniques, potentially leading to more efficient and eco-friendly processes. Moreover, emerging markets such as nanotechnology could open new avenues for the use of this material, further solidifying the importance of anatase titanium dioxide producers in the global economy.

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