Classifier Instance:

Anchor text: Christian Gmelin
Target Entity: Christian_Gmelin
Preceding Context: European artists used the pigment sparingly, reserving their highest quality blues for the robes of Mary and the Christ child. As a result of the high price, artists sometimes economized by using a cheaper blue, azurite, for under painting. Most likely imported to Europe through Venice, the pigment was seldom seen in German art or art from countries north of Italy. Due to a shortage of azurite in the late 16th and 17th century the demand for the already-expensive ultramarine increased dramatically. In 1814 Tassaert observed the spontaneous formation of a blue compound, very similar to ultramarine, if not identical with it, in a lime kiln at St. Gobain, which caused the Societé pour l'Encouragement d'Industrie to offer, in 1824, a prize for the artificial production of the precious color. Processes were devised by Jean Baptiste Guimet (1826) and by
Succeeding Context: (1828), then professor of chemistry in Tübingen; but while Guimet kept his process a secret Gmelin published his, and thus became the originator of the "artificial ultramarine" industry.
Paragraph Title: null
Source Page: Ultramarine

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