A multianalytical study of oil binding media and pigments on Bohemian Panel Paintings from the first half of the 14th century

Šefců, Radka; Pitthard, Václav; Chlumská, Štěpánka; Turková, Ivana

doi:10.1016/j.culher.2016.10.003

Cited by 9 publications

(6 citation statements)

References 12 publications

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“…Further investigation must be conducted to answer whether these pigments could have the same effect on walnut oil (P/S value of fresh oil is 2-4.5) by lowering the P/S value and complicating the differentiation from linseed oil. It is interesting to note that only a few studies see the decrease of the P/S value during paint drying [10,34], and others do not [21,22,26].…”

Section: Relative Quantificationmentioning

confidence: 99%

“…However, one aspect that has been studied less is the effect of pigment concentration on the drying of the oil. To our knowledge, previous research has thoroughly addressed the influence of different pigments [21][22][23][24][25][26][27][28] but neglected the effect of the amount of pigment. The impact of pigment concentration on proteinaceous binders [29] has been studied but not on lipids.…”

Section: Introductionmentioning

confidence: 99%

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Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

et al. 2021

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In this study, quantitative gas chromatography‒mass spectrometry (GC–MS) analysis was used to evaluate the influence of pigment concentration on the drying of oil paints. Seven sets of artificially aged self-made paints with different pigments (yellow ochre, red ochre, natural cinnabar, zinc white, Prussian blue, chrome oxide green, hematite + kaolinite) and linseed oil mixtures were analysed. In the pigment + linseed oil mixtures, linseed oil concentration varied in the range of 10 to 95 g/100 g. The results demonstrate that the commonly used palmitic acid to stearic acid ratio (P/S) to distinguish between drying oils varied in a vast range (from especially low 0.6 to a common 1.6) even though the paints contained the same linseed oil. Therefore, the P/S ratio is an unreliable parameter, and other criteria should be included for confirmation. The pigment concentration had a substantial effect on the values used to characterise the degree of drying (azelaic acid to palmitic acid ratio (A/P) and the relative content of dicarboxylic acids (∑D)). The absolute quantification showed that almost all oil paint mock-ups were influenced by pigment concentration. Therefore, pigment concentration needs to be considered as another factor when characterising oil-based paint samples based on the lipid profile.

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Section: Relative Quantificationmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

et al. 2021

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“…The optimal approach will most probably involve multianalytical investigations, engaging several techniques to cover the (almost) entire content of the sample, as shown, for example, by Šefců et al (2017) to study painting techniques in the 14th century Central Europe and Tomasini et al (2016) to reveal painting technique from the church of Copacabana de Andamarca in Bolivia.…”

Section: Materials Analyzedmentioning

confidence: 99%

Mass spectrometry in art conservation—With focus on paintings

Smoluch

Sobczyk

Szewczyk

et al. 2021

Mass Spectrometry Reviews

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Conservation of historic artifacts has been a multidisciplinary field from its very beginning. Traditionally, it has been and still is associated with the history of art. It applies knowledge from technical and basic sciences, adapting their solutions to its goals. At present, however, a new tendency is clearly emerging—scientific research is starting to play an increasingly important role not only as a service, but also by proposing new solutions both in the traditional conservation areas and in new areas of conservation activities. The above trend opens up new perspectives for the field of preservation of our heritage but may also create new threats. Therefore, the conservators' caution in introducing new technologies should always be justified; after all, they are responsible for the effects of any activities on the historic objects. This, quite selective review, discusses application of mass spectrometry techniques for the detection of various components that are important to the conservators of our heritage with particular focus on paintings. The text also contains some basic knowledge of technical details to introduce the methodology to a broader group of professionals.

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“…Spectroscopic and separation techniques such as Raman, FTIR and GC-MS are well established in the investigation of heritage materials [6,7] including in the analysis of panel paintings [8,9], while Delaney et al explored the used hyperspectral imaging and imaging spectroscopy [10]. In a study of an Italian early renaissance panel painting, a combination of different molecular and elemental spectroscopic imaging methods was shown to provide insight into artistic materials, pigment distribution and underdrawings [11], while hyperspectral imaging and other spectroscopic techniques were used for another similar object [12], where mapping of wax and other organic materials is described and discussed.…”

Section: Introductionmentioning

confidence: 99%

Material characterisation of a painted beehive panel by hyperspectral imaging in combination with advanced spectroscopic and chromatographic techniques

Retko

Kavčič

Legan

et al. 2020

Preprint

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In this study, a painted beehive panel from the collection of Slovene Ethnographic Museum was examined with respect to its material composition with the aim to reveal the painting technique. Due to the state of degradation due to outdoor weathering (UV irradiation, rainfall, extreme temperature and humidity fluctuations), as well as past conservation interventions, the object represented a complex analytical challenge. We aimed for non-invasive techniques (FTIR in reflection mode, Raman spectroscopy and hyperspectral imaging in the range of 400 to 2500 nm), however in order to explore paint layers, cross-sections were also analysed using Raman spectroscopy. FTIR spectroscopy in transmission mode and gas chromatography coupled to mass spectrometry were also used on sample fragments. Various original materials were identified such as pigments and binders. The surface coating applied during restoration interventions was also characterised. Additionally, organic compounds (oxalate, carboxylate), representing transformation products, were found. The potential use of Prussian blue as a background paint layer is discussed.

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A multianalytical study of oil binding media and pigments on Bohemian Panel Paintings from the first half of the 14th century

Cited by 9 publications

References 12 publications

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

Mass spectrometry in art conservation—With focus on paintings

Material characterisation of a painted beehive panel by hyperspectral imaging in combination with advanced spectroscopic and chromatographic techniques

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