Lithopone

Additionally, the committee noted that the available data did not provide convincing evidence of genotoxicity for titanium dioxide as a food additive, but recognized the limitations in current methodologies with respect to the testing of poorly soluble particulate materials. Although there were uncertainties in the genotoxicity data, the experts took into account the fact that the additive was not carcinogenic in adequately conducted two-year studies in mice and rats at doses of up to 7,500 mg/kg BW per day for mice, and 2,500 mg/kg BW per day for rats, the highest doses tested. There was also no evidence of reproductive or developmental toxicity in studies in rats at doses up to 1,000 mg/kg BW per day, the highest doses tested.  

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.