What exactly is a rainbow and how is it formed? Why does it have seven colours? And what have rainbows symbolised in mythologies and art?

Join colour expert Dr Alexandra Loske, National Gallery Principal Scientist Joseph Padfield and National Gallery host Beks Leary as they cover rainbows from Noah’s Ark to Olafur Eliasson, and Pink Floyd's Dark Side of the Moon to Georges Seurat’s ‘The Rainbow’ study.

Alexandra is a colour expert, art historian and museum curator. Her exhibition 'Colour: A Chromatic Promenade through the Royal Pavilion' is on display at The Royal Pavilion in Brighton until October 2025. She is also author of 'The Artist's Palette' and 'Colour: A Visual History'.

Joseph is a Principal Scientist at the National Gallery. He brings a wealth of expertise across multiple domains, including data management, digital infrastructure, conservation documentation, digital imaging, web development, preventive conservation, museum lighting, colour science, and the technical examination of paintings.

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You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast

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Paintings mentioned:

Angelica Kauffman RA, ‘Colouring’, 1778-80. Royal Academy of Arts, London © Photo: Royal Academy of Arts, London. Photographer: John Hammond https://www.royalacademy.org.uk/art-artists/work-of-art/colour

Jan Van Eyck, ‘The Annunciation’, about 1434/1436. National Gallery of Art, Washington https://www.nga.gov/artworks/46-annunciation

Bartolomé Bermejo, ‘Saint Michael triumphant over the Devil with the Donor Antoni Joan’, 1468. The National Gallery, London https://www.nationalgallery.org.uk/paintings/bartolome-bermejo-saint-michael-triumphs-over-the-devil

John Constable, ‘Salisbury Cathedral from the Meadows’, exhibited 1831. Tate, Purchased by Tate with assistance from the National Lottery through the Heritage Lottery Fund, The Manton Foundation, Art Fund (with a contribution from the Wolfson Foundation) and Tate Members in partnership with Amgueddfa Cymru-National Museum Wales, Colchester and Ipswich Museums Service, National Galleries of Scotland, and The Salisbury Museum 2013. © Photo: Tate https://www.tate.org.uk/art/artworks/constable-salisbury-cathedral-from-the-meadows-t13896

John Everett Millais, ‘The Blind Girl’, 1856. Birmingham Museums Trust © Photo by Birmingham Museums Trust

Why do we see purple as the colour of royalty? It all starts on the Mediterranean coast with some unassuming, and eventually very unfortunate, seasnails.

Travel back to ancient times with colour specialist Victoria Finlay and National Gallery host Beks Leary to trace the story of Tyrian purple through time.

Victoria has written several books about colour – including 'Colour, Travels through the Paintbox' and 'The Brilliant History of Color in Art' – which involved travelling across the globe to the very places that ancient pigments and dyes came from. Her most recent book is about the hidden histories of fabric.

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Watch the full episode on YouTube: https://youtu.be/kcPMFsafav8

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast

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Paintings mentioned:

Peter Paul Rubens, ‘La Découverte de la Pourpre un phenicien trouve grace a son chien un coquillage produisant la teintre rouge’, about 1636. Musée Bonnat, Bayonne, France © Musée Bonnat, Bayonne, France / Photo Josse/Scala, Florence https://webmuseo.com/ws/musee-bonnat-helleu/app/collection/record/1923

Raphael, ‘The Dream of a Knight’, about 1504. The National Gallery, London https://www.nationalgallery.org.uk/paintings/raphael-the-dream-of-a-knight

Lorenzo Costa, 'Portrait (supposed to be of Battista Fiera)', 1490-5. The National Gallery, London https://www.nationalgallery.org.uk/paintings/lorenzo-costa-portrait-supposed-to-be-of-battista-fiera

Master of the Bruges Passion Scenes, 'Christ presented to the People', about 1510. The National Gallery, London https://www.nationalgallery.org.uk/paintings/master-of-the-bruges-passion-scenes-christ-presented-to-the-people

Further reading:

Victoria Finlay, Color: A Natural History of the Palette, 2002

Victoria Finlay, Colour: Travels through the Paintbox, 2002

Victoria Finlay, The Brilliant History of Color in Art, 2014

Victoria Finlay, Fabric: The Hidden History of the Material World, 2021

Marcus Aurelius, Meditations, composed around 2nd century AD

Find out more about the Tito...

Where did all the colour go? And how might Western culture have feared it, or deemed it superficial, in art and philosophy? We celebrate the 25th anniversary of seminal book ‘Chromophobia’ with its author David Batchelor, who reflects on these ideas a quarter of a century on.

David speaks to National Gallery host Beks Leary about ideas of colour from philosopher Plato and artist Paul Cezanne, to the film ‘The Wizard of Oz’, photojournalist Don McCullin and pop artist Andy Warhol. They also ask the pressing question: ‘is beige a passive aggressive colour?’

David Batchelor is an artist and writer based in London, who, for thirty years, has been concerned with our experience of colour within the modern urban environment, and with historical conceptions of colour within Western culture. His work comprises sculpture, installation, drawing, painting, photography and animation.

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Watch the full episode on YouTube: https://youtu.be/bOrd81eklxM

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast

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Artworks mentioned:

Paul Cezanne, ‘Hillside in Provence’, about 1890-2. The National Gallery, London https://www.nationalgallery.org.uk/paintings/paul-cezanne-hillside-in-provence

Jean-Auguste-Dominique Ingres, ‘Madame Moitessier’, 1856. The National Gallery, London https://www.nationalgallery.org.uk/paintings/jean-auguste-dominique-ingres-madame-moitessier

Pierre-Auguste Renoir, ‘The Skiff (La Yole)’, 1875. The National Gallery, London https://www.nationalgallery.org.uk/paintings/pierre-auguste-renoir-the-skiff-la-yole

Claude Monet, ‘The Gare St-Lazare', 1877. The National Gallery, London https://www.nationalgallery.org.uk/paintings/claude-monet-the-gare-st-lazare

Sir Don McCullin CBE, ‘Shell-shocked US Marine, The Battle of Hue’, 1968, printed 2013. ARTIST ROOMS Tate and National Galleries of Scotland https://www.tate.org.uk/art/artworks/mccullin-shell-shocked-us-marine-the-battle-of-hue-ar01201 /

Why does the colour green remind you of poison and radioactivity? We're telling the story of two toxic green pigments to find out. Their stories interact with artists like Berthe Morisot, Dante Gabriel Rossetti and William Morris, as well as the less likely figure of Napoleon Bonaparte. And we go for a very good nosy around Victorian libraries.

Join cultural historian Kassia St Clair and National Gallery host Beks Leary to ask just how deadly these historic pigments really are!

Kassia is the author of books including 'The Secret Lives of Colour', 'The Golden Thread' and 'Liberty: Design. Pattern. Colour'. She specialises in telling stories about the overlooked and every day.

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Watch the full episode on YouTube: https://youtu.be/9PIn-7FesV8

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast

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Paintings mentioned:

Camille Pissarro, ‘The Côte des Bœufs at L'Hermitage’, 1877. The National Gallery, London https://www.nationalgallery.org.uk/paintings/camille-pissarro-the-cote-des-boeufs-at-l-hermitage

Edouard Manet, ‘Music in the Tuileries Gardens’, 1862. The National Gallery, London https://www.nationalgallery.org.uk/paintings/edouard-manet-music-in-the-tuileries-gardens

Dante Gabriel Rossetti, ‘Veronica Veronese’, 1872. The Delaware Art Museum © Delaware Art Museum / Samuel and Mary R. Bancroft Memorial / Bridgeman Images https://emuseum.delart.org/objects/321/veronica-veronese

Berthe Morisot, ‘Summer’s Day’, about 1879. The National Gallery, London https://www.nationalgallery.org.uk/paintings/berthe-morisot-summer-s-day

Further reading:

Kassia St Clair, The Secret Lives of Colour, 2016

David Bomford, Jo kirby, John Leighton and Ashok Roy, Art in the Making: Impressionism, 1990

William Morris and Norman Kelvin, The Collected Letters of William Morris, 1984

To see ‘The Arsenic Waltz’ wood engraving, dated to 8 February 1862, from Punch or the London Charivari, visit the Wellcome Collection’s online catalogue:

We're asking how we feel about colour – or more accurately how colours make us feel – and whether that's the same for all of us.

Join colour specialist Zeynep Sagir and National Gallery host Beks Leary to get emotional about colour. Along the way, we talk about Pablo Picasso’s ‘Blue Period’ and Derek Jarman’s final film ‘Blue’, the calming green of John Constable’s ‘The Cornfield’, and Mark Rothko’s colour field abstractions. And we’ll see just how cultural our perception of colour really is.

Zeynep is an artist, colour consultant, and founder of The Colour Club. She holds a Master’s degree from Central Saint Martins and spent two years researching colour psychology. Since graduating, she has gone on to become a certified colour consultant and colour therapist. Through The Colour Club, Zeynep runs workshops, hosts events, and offers consultancy, as well as publishing articles and interviews.

Find out more about The Colour Club on Instagram: https://www.instagram.com/thecolourclub/

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Watch the full episode on YouTube: https://youtu.be/CN0KgUJtjJA

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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To take our short survey about the podcast please visit: https://www.nationalgallery.org.uk/podcast

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Paintings mentioned:

John Constable, ‘The Cornfield’, 1826. The National Gallery, London https://www.nationalgallery.org.uk/paintings/john-constable-the-cornfield

Derek Jarman, ‘Blue’, 1993. Tate https://www.tate.org.uk/art/artworks/jarman-blue-t14555

Vincent van Gogh, ‘Van Gogh’s Chair’, 1888. The National Gallery, London https://www.nationalgallery.org.uk/paintings/vincent-van-gogh-van-gogh-s-chair

Vincent van Gogh, ‘Gauguin's Chair’, 1888. Van Gogh Museum, Amsterdam https://www.vangoghmuseum.nl/en/collection/s0048V1962

Further reading:

Find out more about The Colour Club here: https://www.thecolourclub.co.uk/

Josef Albers, Interaction of Color, 1963

To find out more about research conducted during the 2004 Olympic...

We're on the search for the 'perfect red' with a pigment and dye that was so prized that it inspired international espionage and piracy, carried the death penalty if exported without a license, and built empires. But today you might find it in your strawberry yoghurt.

This is the story of how bugs turned the world red with historian and writer Amy Butler Greenfield and National Gallery host Beks Leary.

Amy is the granddaughter and great-granddaughter of dyers, and her award-winning history of cochineal, 'A Perfect Red', has been published in eight languages. A popular speaker on radio and television programs, Amy was born in Philadelphia, studied history at Oxford, and now lives with her family in Oxfordshire.

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Watch the full episode on YouTube: https://youtu.be/Z2jEf3QH_ho

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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Paintings mentioned:

Workshop of Albrecht Dürer with Hans Baldung Grien, ‘The Virgin and Child ('The Madonna with the Iris')’, about 1500-10. The National Gallery, London https://www.nationalgallery.org.uk/paintings/workshop-of-albrecht-durer-with-hans-baldung-grien-the-virgin-and-child-the-madonna-with-the-iris

Titian, ‘The Holy Family with a Shepherd’, about 1510. The National Gallery, London https://www.nationalgallery.org.uk/paintings/titian-the-holy-family-with-a-shepherd

Titian, 'Diana and Callisto’, 1556-9. The National Gallery, London https://www.nationalgallery.org.uk/paintings/titian-diana-and-callisto

Further reading:

Amy Butler Greenfield, ‘A Perfect Red: Empire, Espionage, and the Quest for the Color of Desire’, 2005

For more information on ‘The Virgin and Child ('The Madonna with the Iris')’ by Workshop of Albrecht Dürer with Hans Baldung Grien, please see the following volumes of the National Gallery’s Technical Bulletin:

https://www.nationalgallery.org.uk/research/research-resources/technical-bulletin/technical-bulletin-volume-21

Meet an enigmatic pigment discovered entirely by accident at the start of the 18th century. Its story involves a rogue inventor with an unlikely connection to Doctor Frankenstein, a characterful trio of Johanns, and a renowned Botticelli forgery.

This pigment came to be known as Prussian blue or Berlin blue. Before its discovery, a range of blue pigments existed but each had a significant flaw: natural ultramarine was prohibitively expensive, smalt discoloured, azurite turned green and indigo faded.

Join colour specialist Evie Hatch and National Gallery host Beks Leary for a conversation about the pigment most famously seen in the blue revolution of Japanese woodblock printing, which inspired the Impressionists, as well as in earlier Rococo painting.

Evie Hatch is an art historian specialising in the history and characteristics of artist pigments. She is the writer and presenter of Jackson's Art Pigment Stories series.

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Watch the full episode on YouTube: youtu.be/WK1GSvP6VYs

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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Paintings mentioned:

Paolo Veronese’s Four Allegories of Love series, about 1575: https://www.nationalgallery.org.uk/paintings/search-the-collection?q=Four+Allegories+of+Love&tpf=&tpt=&acf=&act=

Probably by Jean-Baptiste Perronneau, A Girl with a Kitten, 1743. The National Gallery, London https://www.nationalgallery.org.uk/paintings/probably-by-jean-baptiste-perronneau-a-girl-with-a-kitten

Katsushika Hokusai, Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), about 1830-32. The Metropolitan Museum of Art, New York https://www.metmuseum.org/art/collection/search/45434

Claude Monet, Impression, Soleil Levant, 1872. Musée Marmottan Monet, Paris https://www.marmottan.fr/en/notice/4014/

Claude Monet, Bathers at La Grenouillère, 1869. The National Gallery, London

Welcome to Stories in Colour! We're starting at the very beginning to ask an age-old question: are the colours you see, the same as the colours I see?

Join Professor Anya Hurlbert from Newcastle University and National Gallery host Beks Leary as they ask whether colour is real and how exactly we see it, stopping off to look at paintings from the National Gallery along the way. We go back to the viral dress that divided the internet in 2015 – was it blue and black, or was it white and gold? This was the moment so many of us discovered that colour is our own – in Anya’s words – personal possession.

Anya is a Professor of Visual Neuroscience and Dean of Advancement at Newcastle University. Her research focuses on human visual perception: how and why we see what we see. As Scientist Trustee at the National Gallery from 2010-2018, she worked with us on our 2014 ‘Making Colour’ exhibition – bringing together art and science to explain how artists overcame the technical challenges involved in creating colour.

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Watch the full episode on YouTube: youtu.be/gYTWp_iLRh4

You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast

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Paintings mentioned:

Joseph Mallord William Turner, The Fighting Temeraire, 1839. The National Gallery, London https://www.nationalgallery.org.uk/paintings/joseph-mallord-william-turner-the-fighting-temeraire

Pierre-Auguste Renoir, The Skiff (La Yole), 1875. The National Gallery, London https://www.nationalgallery.org.uk/paintings/pierre-auguste-renoir-the-skiff-la-yole

Claude Monet, Stacks of Wheat (End of Summer), 1890–91. The Art Institute of Chicago https://www.artic.edu/artworks/64818/stacks-of-wheat-end-of-summer

Claude Monet, Stacks of Wheat (Sunset, Snow Effect), 1890–91. The Art Institute of Chicago https://www.artic.edu/artworks/81545/stacks-of-wheat-sunset-snow-effect

Claude Monet, Stacks of Wheat (End of Day, Autumn), 1890–91. The Art Institute of Chicago