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While it's still on my mind, Sargent and Whistler were using pretty cutting edge pigments and were some of the first to used the glued and sized paper blocks like Arches comes in. Replacements will be noted in parentheses.
>Iron Earths: burnt sienna, burnt umber, yellow ochre
>Venetian red
>Ultramarine blue, Whistler preferred iron blue in some paintings. Synthetic ultramarine was relatively new (1860s) and a much cheaper replacement for lapis, which cost more than gold at different points in history.
>New gamboge (nickel azomethine yellow)
>Hansa yellow or similar (I picked benzimidazalone yellow)
>rose madder (avoid it or hues using the same name at all costs, even they knew it fades in a week. Quinacridone Rose is close in color and properties without being a mystery meat blend)
>Alizarin crimson (same, it and all "permanent" hue blends are shit. Perylene maroon is a much better substitute)
>Vermillion (cadmium red light, mercuric sulfide will kill you faster than cadmium)
>Viridian, as no other green worth mentioning existed and they knew their lightfastness
Cobalt blue and cadmium reds and yellows were very new and used sparingly once they were available. They favored subdued classical palettes for the effect, granularity and lightfastness. Most of their paintings are chalky and opaque in person. Thin glazes of the transparent pigments are easily applied on top, much like with their oil techniques.
I noted a doubling of paints so you have a staining and granular version of a color on call. Many of them also undergo drastic color shifts as you dilute them. Nickel azo starts as a dark mustard brown and becomes a brilliant warm yellow, ochre dilutes into natural flesh tones that are easily adjusted, sienna can become a radiant orange depending on which brand you use, some of the umbers are almost green or purple and dilute to oak tree grey.
