este trabajo describe el análisis por espectroscopia infrarroja utilizando la técnica de reflectancia total atenuada de pinturas al óleo y acrílicas comerciales conteniendo blanco de titanio, azul de Prusia y verde de ftalocianina como pigmentos.  Las pinturas al óleo con azul de Prusia mostraron la presencia de cargas como carbonato de calcio y sulfato de bario. El análisis de una réplica de una pintura acrílica con blanco de titanio sobre la que se aplicó una capa de barniz Paraloid B-67 dio un espectro infrarrojo correspondiente al barniz, no registrándose bandas de la capa de la formulación con blanco de titanio. Por otra parte, en las pinturas al óleo y acrílicas con verde de ftalocianina se diferenciaron claramente ambos aglutinantes y se identificó el pigmento en base a algunas señales características en la zona de la huella digital. Los resultados muestran la versatilidad de la técnica vibracional en el estudio de materiales artísticos. Resumo: Este trabalho descreve a análise por espectroscopia de infravermelho usando a técnica de reflectância total atenuada de tintas a óleo e acrílicos comerciais contendo branco de titânio, azul da Prússia e verde de ftalocianina como pigmentos. As pinturas a óleo com azul da Prússia mostraram a presença de cargas como carbonato de cálcio e sulfato de bário. A análise de uma réplica de uma tinta acrílica com branco de titânio sobre a qual foi aplicada uma camada de verniz Paraloid B-67 produziu um espectro infravermelho correspondente ao verniz, não registrando bandas da camada de formulação com branco de titânio. Por outro lado, no óleo e acrílicos com verde de ftalocianina, ambos os aglutinantes foram claramente diferenciados e o pigmento foi identificado com base em alguns sinais característicos em áreas de fingerprint. Os resultados mostram a versatilidade da técnica vibracional no estudo de materiais artísticos. Abstract: this work describes the analysis by attenuated total reflectance infrared spectroscopy of oil and acrylic commercial paintings with titanium white, Prussian blue and green phthalocyanine as pigments. Oil paintings with Prussian blue showed the presence of calcium carbonate and barium sulfate as extenders. Analysis of a mock-up of an acrylic painting with titanium white with the application of Paraloid B-67 as varnish showed the infrared spectrum of the varnish and no bands of the titanium white painting. On the other hand, in the oil and acrylic paintings with green phthalocyanine both binders were clearly differentiated and the pigment was identified by some characteristic bands in the fingerprint region. Our results show the versatility of the vibrational technique in the study of pictorial materials.

This work describes the characterization of pigments and ground layers in two paintings by the renowned Argentinian painter Antonio Berni (1905–1981). The studied paintings are “Toledo” and “Figure” from the collection of the Provincial Museum of Fine Arts in Santa Fe (Argentina). To approach this goal, an integrated investigation comprising in situ X-ray fluorescence measurements by means of a portable system (pXRF), micro-Raman spectroscopy, Attenuated Total Reflection–Fourier transform infrared spectroscopy (ATR-FTIR), and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM–EDS) was carried out. The results revealed a chromatic palette with inorganic pigments, such as ultramarine blue, cobalt blue, lead white, zinc white, yellow cadmium, and hydrated chromium oxide (viridian), together with a preparation layer consisting of a mixture of earth, lead white, and calcite in “Toledo”. On the other hand, the preparation layer in “Figure” was characterized as lithopone, a mixture of barium sulfate and zinc sulfide. ATR-FTIR-analysis revealed the formation of metallic soaps in both paintings due to the reaction of fatty acids from a drying oil used as a binder with lead and zinc pigments, as confirmed by comparison with the infrared spectra of synthetic lead and zinc soaps. This study contributes to the understanding of Berni’s painting style and the future restoration of both artworks.