Aureolin was introduced to replace the fugitive gamboge and Indian yellow as a transparent yellow. Unfortunately it proved even more fugitive — Victorian watercolours using aureolin have often faded to near-invisibility. It represents one of the more unfortunate pigment introductions of the 19th century: a colour that solved one problem (natural dye sources) by creating another (extreme impermanence).

Brilliant but temporary. Aureolin carries the paradox of a colour that was designed to be permanent but proved to be among the most fugitive in the artist's palette. There is something philosophically interesting about a colour named "golden" (from "aurum" — gold) that cannot maintain its colour over time.

Aureolin's failure as a permanent pigment is a cautionary tale about pigment testing. In the 19th century, the scientific testing of pigment permanence was not yet systematic — colours were sold on the basis of immediate appearance rather than long-term stability. The comprehensive lightfastness testing of modern pigments (ASTM standards) was developed partly in response to the disasters of fugitive 19th century pigments.