A multi-analytical approach to the characterization of natural organic dyestuffs and inorganic substrates present in the 19<sup>th</sup>-century artistic oil paints manufactured by a French art materials supplier Richard Ainès

Otłowska, Olga; Ślebioda, Marek; Wachowiak, Mirosław; Śliwka-Kaszyńska, Magdalena

doi:10.1039/c6ay02959k

Cited by 15 publications

(10 citation statements)

References 33 publications

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“…Red lead (Pb 3 O 4 ), a mineral-based pigment named minium, has been mostly employed in paintings as a bright color in a large variety of artworks, including wall paintings, polychrome sculptures, and canvas paintings. 1,2 Over the past few decades, much attention has been given to the identification of pigment in the artworks by a multimethod approach, [3][4][5][6] Raman spectroscopy, 7-9 and X-ray diffraction (XRD). [10][11][12] However, little attention has been paid to the possible interactions between the inorganic pigments and the organic binders, and influence of painting binding on the degradation of red lead.…”

Section: Introductionmentioning

confidence: 99%

Degradation of red lead pigment in the oil painting during UV aging

Zhao

Wang

Pan

et al. 2019

Color Research & Application

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The degradation product and mechanism of red lead pigment (Pb 3 O 4 , minium) in pure powder and in modeled oil painting are dynamically tracked during ultraviolet light aging by the change of color, crystal structure, chemical composition, and surface morphology. After UV aging, the color of pure minium pigment gradually darkens from bright orange-red into black, but the color of model paint samples made by minium and tung oil binder changes into brownish and whitish color (ΔE * = 56.60). After aging, the crystal structure of Pb 3 O 4 powder is proved to transfer into plattnerite (β-PbO 2 ) by X-ray diffraction (XRD) pattern, but the degradation product of Pb 3 O 4 in model paint samples is identified as 2PbCO 3 ÁPb(OH) 2 by the noticeable peaks at 24.8 , 27.4 , and 34.3 in XRD pattern, and two new Fourier transform infrared peaks at 1393 cm −1 and 682 cm −1 attributed to the presence of CO 2 − 3 , and a new peak at 1051 cm −1 in Raman spectroscopy. During UV aging, the model paint samples' surface is verified gradually from wrinkled surface into nanoscale sheet-like structure and finally a regular hexagonal plate-like crystal structure, showing hexagonal crystals of hydrocerussit 2PbCO 3 ÁPb(OH) 2 . This reveals the interaction between organic tung oil binder and inorganic minium to accelerate the degradation of Pb 3 O 4 pigment. Therefore, the degradation mechanism is deduced as that CO 2 and H + formed by oxidizing ester/carboxyl groups in tung oil reacts with Pb 2+ to yield the white product of 2PbCO 3 ÁPb(OH) 2 . It is believed that this study will contribute much to the complete understanding of the degradation of minium pigment in oil paintings. K E Y W O R D Sdegradation mechanism, oil painting, pigment, red lead (Pb 3 O 4 ), UV light aging

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Section: Introductionmentioning

confidence: 99%

Degradation of red lead pigment in the oil painting during UV aging

Zhao

Wang

Pan

et al. 2019

Color Research & Application

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“…Blue indigoid dyes are better extracted with hot pyridine, pyridine with water [ 10 , 11 ], dimethylformamide, or dimethylsulfoxide [ 12 , 13 ]. For this reason, milder extraction methods based on the use of ethylenediaminetetraacetic acid (EDTA) or citric, tartaric, formic, or hydrofluoric acid are currently being tested [ 14 , 15 , 16 , 17 , 18 ]. Identification of these components in complex mixtures requires sensitive and selective analytical techniques.…”

Section: Introductionmentioning

confidence: 99%

Chromatographic and Spectroscopic Identification and Recognition of Natural Dyes, Uncommon Dyestuff Components, and Mordants: Case Study of a 16th Century Carpet with Chintamani Motifs

Otłowska

Ślebioda²,

Kot‐Wasik

et al. 2018

Molecules

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A multi-tool analytical practice was used for the characterisation of a 16th century carpet manufactured in Cairo. A mild extraction method with hydrofluoric acid has been evaluated in order to isolate intact flavonoids and their glycosides, anthraquinones, tannins, and indigoids from fibre samples. High-performance liquid chromatography coupled to spectroscopic and mass spectrometric detectors was used for the identification of possible marker compounds with special attention paid to natural dyes present in the historical samples. Weld, young fustic, and soluble redwood dye were identified as the dye sources in yellow thread samples. Based on the developed method, it was possible to establish that red fibres were coloured with lac dye, whereas green fibre shades were obtained with indigo and weld. Tannin-containing plant material in combination with indigo and weld were used to obtain the brown hue of the thread. Hyphenation of high-performance liquid chromatography (HPLC) with quadrupole time-of-flight mass spectrometry (QTOF MS) and triple-quadrupole mass spectrometry (QqQ MS) enabled us to recognise four uncommon and thus-far unknown dye components that were also found in the historical samples. These compounds probably represent a unique fingerprint of dyed threads manufactured in a Turkish workshop. Scanning electron microscopy with energy-dispersive X-ray detector (SEM-EDS) and Fourier transform infrared spectroscopy (FT-IR) were used for the identification and characterisation of substrates and mordants present in the historical carpet. Carbon and oxygen were detected in large quantities as a part of the wool protein. The presence of aluminium, iron, and calcium indicated their usage as mordants. Trace amounts of copper, silica, and magnesium might originate from the contaminants. FT-IR analysis showed bands characteristic for woollen fibres and SEM micrographs defined the structure of the wool.

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“…Among them, highperformance liquid chromatography with spectrophotometric and mass-spectrometric detectors (HPLC-UV-Vis-MS) is one of the useful tools for the analysis of textile samples containing dyes [4][5][6][7][8][9]. Tandem electrospray ionization mass spectrometry (MS/MS) can identify these compounds and enables conclusions about their structures [10][11][12][13][14]. Energy dispersive X-ray spectroscopy combined with scanning electron microscopy (SEM-EDS), particle induced X-ray emission (PIXE), laser ablation ICP-MS, and laser induced breakdown spectroscopy (LIBS) give information on the mordanting ions and reveals details of ancient dyeing techniques [15][16][17][18][19].…”

Section: Introductionmentioning

confidence: 99%

Multi-Technique Investigation of Grave Robes from 17th and 18th Century Crypts Using Combined Spectroscopic, Spectrometric Techniques, and New-Generation Sequencing

Śliwka-Kaszyńska

Ślebioda²,

Brillowska-Dąbrowska

et al. 2021

Materials

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The textile fragments of the funeral clothes found in the 17th and 18th century crypts were subjected to spectroscopic, spectrometric, and microbial investigation. The next-generation sequencing enabled DNA identification of microorganisms at the genus and in five cases to the species level. The soft hydrofluoric acid extraction method was optimized to isolate different classes of dyes from samples that had direct contact with human remains. High-performance liquid chromatography coupled with diode matrix and tandem mass spectrometry detectors with electrospray ionization (HPLC-DAD-ESI-MS/MS) enabled the detection and identification of 34 colourants that are present in historical textiles. Some of them are thus far unknown and uncommon dyes. Indigo, madder, cochineal, turmeric, tannin-producing plant, and young fustic were identified as sources of dyes in textiles. Scanning electron microscopy with energy-dispersive X-ray detector (SEM-EDS) and Fourier transform infrared spectroscopy (FT-IR) were used to identify and characterize fibres and mordants in funeral gowns. Of the 23 textile samples tested, 19 were silk while the remaining four were recognized as wool. The presence of iron, aluminium, sodium, and calcium suggests that they were used as mordants. Traces of copper, silica, and magnesium might originate from the contaminants. The large amount of silver indicated the presence of metal wire in one of the dyed silk textiles. SEM images showed that textile fibres were highly degraded.

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A multi-analytical approach to the characterization of natural organic dyestuffs and inorganic substrates present in the 19^th-century artistic oil paints manufactured by a French art materials supplier Richard Ainès

Abstract: This paper presents a comprehensive analysis of artistic paints produced in the 19th century by a French art materials supplier Richard Ainès.

Cited by 15 publications

References 33 publications

Degradation of red lead pigment in the oil painting during UV aging

Degradation of red lead pigment in the oil painting during UV aging

Chromatographic and Spectroscopic Identification and Recognition of Natural Dyes, Uncommon Dyestuff Components, and Mordants: Case Study of a 16th Century Carpet with Chintamani Motifs

Multi-Technique Investigation of Grave Robes from 17th and 18th Century Crypts Using Combined Spectroscopic, Spectrometric Techniques, and New-Generation Sequencing

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A multi-analytical approach to the characterization of natural organic dyestuffs and inorganic substrates present in the 19th-century artistic oil paints manufactured by a French art materials supplier Richard Ainès

Abstract: This paper presents a comprehensive analysis of artistic paints produced in the 19th century by a French art materials supplier Richard Ainès.

Cited by 15 publications

References 33 publications

Degradation of red lead pigment in the oil painting during UV aging

Degradation of red lead pigment in the oil painting during UV aging

Chromatographic and Spectroscopic Identification and Recognition of Natural Dyes, Uncommon Dyestuff Components, and Mordants: Case Study of a 16th Century Carpet with Chintamani Motifs

Multi-Technique Investigation of Grave Robes from 17th and 18th Century Crypts Using Combined Spectroscopic, Spectrometric Techniques, and New-Generation Sequencing

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A multi-analytical approach to the characterization of natural organic dyestuffs and inorganic substrates present in the 19^th-century artistic oil paints manufactured by a French art materials supplier Richard Ainès