This is a bit of a palette secret - we quite enjoy manganese violet along with cobalt violet. Manganese Violet is a bit more of a red violet than Cobalt Violet Deep, though Manganese Violet comes in a range of hard-to-find purples.
A mixing violet with many uses. Years ago I read of a painter who suggested that this was one of those heroic colors that was underrated. They suggested using it in flesh tones. The uses for mineral purples are almost endless.
Violet is a tricky range for lightfastness and PV16 does receive excellent marks (all 8’s on the BWS).
Along with Cobalt Violet PV14, this color is superb as a mixing color to tame greens. It has some transparency to it, but usually for whatever reason when found in oil paint it's semi-opaque.
It does contain Manganese, which is probably part of the toxicity rating of B, meaning it does have toxicity. We have read horror stories of what have happened to people when exposed to the dust. While anecdotal, we feel it is only kind to say to steer clear of making the paint by hand. When bound in paint it is said to be far less of a hazard though one must follow careful studio safety with artist pigments in general. For more information on the hazards associated with manganese pigments, see Monona Rossol's book, The Artist's Guide to Health and Safety. Her most recent work can be found through her site.
This is among the pigments that has a very high oil content, however manganese acts as a drier. Both factors should be taken into account if painting in layers.

Kremer Pigments Manganese Violet



Sennelier Mineral Violet, PV16
PV16 pigment data from David G. Myers, The Color of Art Pigment Database, Artiscreation.com
Information about PV16 from Bruce MacEvoy, Handprint Guide to Watercolors, General information about this class of pigments from Handprint,
Rossol, Monona. The Artist's Complete Health and Safety Guide. New York, NY : Allworth Press, 2001. The book is rather dated, updated information is available from her website.
Excellent, though refer to notes on mixing whites. May darken slightly.
This pigment receives highest marks on the BWS (all 8’s). This is considered one of the lightfast violets, though it may not be at its best in Flake White (Linseed), Lithopone, or pure Zinc. In their recent lightfastness testing, Golden found that this pigment may perform closer to ASTM II (very good, but not excellent) depending on the choice of mixing white. In Flake White in Safflower oil, pure Titanium White in Linseed or Safflower it performed at ASTM I. The 1980s era NPIRI gave it solid marks even in outdoor exposures in Florida.
Semi-Transparent, Semi-Opaque
Ranges from Transparent to Opaque in oils depending on the formulation. Most often found as semi-transparent/semi-opaque, though this also depends on the pigment load.
Hazard, Treat as Toxic, Manganese
Manganese powder must be treated with extreme caution, do no expose yourself to the dust. For more information on the hazards associated with manganese pigments, see Monona Rossol's book, The Artist's Guide to Health and Safety. Her most recent work can be found through her site.
Low
Fast- 2 Days or Less
We’ve noticed how quickly this color dries. Colors mixed with this color dry faster as well.
Low to Moderate - Varies
Some sources cite high oil content, others medium, others low. By volume it seems to be low. By weight, Artiscreation lists a range of approximately 23-26g/100g of oil, but your pigment may have different requirements.
Ammonium Manganese(III) Pyrophosphate, or manganese ammonium pyrophosphate
NH₄MnP₂O₇
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