Applications of laser desorption mass spectrometry for the study of synthetic organic pigments in works of art

Kirby, Daniel P.; Khandekar, Narayan; Sutherland, Ken; Price, Beth

doi:10.1016/j.ijms.2008.08.011

Cited by 43 publications

(24 citation statements)

References 6 publications

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“…Research, Art History and Material Analysis", financed by the Italian Ministry of University and Research (MIUR)-Futuro in Ricerca 2012 program [36]. They comprise both powders contained in closed jars and paint tubes.…”

Section: Samplesmentioning

confidence: 99%

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

et al. 2017

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The characterisation of atelier materials and of the historical commercial formulation of paint materials has recently gained new interest in the field of conservation science applied to modern and contemporary art, since modern paint materials are subjected to peculiar and often unpredictable degradation and fading processes. Assessing the composition of the original materials purchased by artists can guide not only their identification in works of art, but also their restoration and conservation. Advances in characterisation methods and models for data interpretation are particularly important in studying organic coloring materials in the transition period corresponding to the late 19th-early 20th century, when many such variants or combinations were hypothetically possible in their formulations. There is thus a need for reliable databases of materials introduced in that period and for gaining chemical knowledge at a molecular level related to modern organic pigments, by state-of-the-art protocols. This paper reports on the results of a study on 44 samples of historical colorants in powder and paint tubes, containing both lake pigments and synthetic organic pigments dating from 1890 to 1926. The samples were collected at the Lefranc Archive in Le Mans (France) as a part of Project Futurahma "From Futurism to Classicism (1910Classicism ( -1922. Research, Art History and Material Analysis", (FIRB2012, Italian Ministry of University and Research), and were investigated using an analytical approach based on chromatographic and mass spectrometric techniques. The focus of the chemical analyses was to reveal the composition of the historical organic lake pigments including minor components, to discriminate between different recipes for the extraction of chromophore-containing molecules from the raw materials, and ultimately to distinguish between different formulations and recipes. High performance liquid chromatography (HPLC) with diode array detector (DAD) or electrospray-Quadrupole-Time of Flight tandem mass spectrometry detector (ESI-Q-ToF) were chosen given their considerable capacity to identify such complex and widespread organic materials. Although the inorganic components of the pigments were not taken into account in this survey, the specific molecular profiles provided invaluable information on the extraction procedures or synthetic strategy followed by the different producers, at different times. For instance, the use of Kopp's purpurin and garancine was highlighted, and synthetic by-products were identified. The results provided evidence that the addition of synthetic organic pigments to paint mixtures started from 1910 onwards, but they also suggest that in the formulation of high quality (surfin) colorants, natural products were still preferred. Moreover, in one of the samples the use of murexide as the colouring material was confirmed. This paper presents the first systematic and comprehensive survey on organic lakes and pigments belonging to an historical archive, by both HPLC-DAD and HPLC-ES...

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Section: Samplesmentioning

confidence: 99%

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

et al. 2017

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“…Nevertheless, in real samples it may render complex spectra, where the signals of pigments, substrates, binding media, and fillers are all within the same analysis. Other techniques that were used to study SOPs include laser desorption mass spectrometry, X‐ray diffraction and pyrolysis gas chromatography mass spectrometry . Some of these techniques, however, require sampling of a large quantity of material and may involve laborious sample preparation, preventing them from being used in real samples.…”

Section: Introductionmentioning

confidence: 99%

Synthetic organic pigments in contemporary Balinese painting: a Raman microscopy study

Marcelino

Muralha

2012

J Raman Spectroscopy

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The colour palette from two 20th century and one 21st century Indonesian paintings from the island of Bali was determined by Raman microscopy. There is very little information concerning the artistic techniques from this region of the world and the influences in materials introduced by western artists. The most interesting finding of our study was the increasing substitution of natural pigments by modern synthetic organic pigments. The findings were also compared with samples of representative pigments commonly used by Bali artists, donated by a renowned Balinese painter. Raman microscopy, combined with Fourier transform infrared spectroscopy, high‐performance liquid chromatography and μ‐EDXRF, was able to separate the different components on several colours, and to identify both synthetic organic pigments and inorganic components. Three azo pigments from the diarylide subclass, PY 83, PY 55 and PO 16, were identified on the yellow, brown, red and orange colours. A copper phthalocyanine blue PB 15:x and a basic dye BB 26 were responsible for the blue colours, the former admixed with ultramarine blue. Goethite was sometimes introduced to create the green colour. Two other basic dyes, BY2 and PG 4, were the main chromophores of the yellow and green samples of local pigments. The inorganic pigments comprised bone white, bone black, carbon‐based black pigment, haematite, goethite, vermilion, ultramarine blue and anatase. Finally, the ground layer of all the paintings was identified as rice starch, with a double function of a white pigment. Copyright © 2012 John Wiley & Sons, Ltd.

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“…The small sample size required, sharp peaks and low energy cutoff of Raman spectroscopy make it an extremely useful technique to identify these pigments [3,4]. LDI-MS, which can be performed in both positive and negative ion modes, provides pigment-specific information including the molecular weight and fragmentations [5,6]. These pigments include members of the arylide (Hansa) yellows, diarylide yellow and oranges, and the Naphthol AS classes.…”

Section: Introductionmentioning

confidence: 99%

The synthesis characterization of historical novel azo pigments: implications for conservation science

Lomax

2019

Herit Sci

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Applications of laser desorption mass spectrometry for the study of synthetic organic pigments in works of art

Cited by 43 publications

References 6 publications

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

Synthetic organic pigments in contemporary Balinese painting: a Raman microscopy study

The synthesis characterization of historical novel azo pigments: implications for conservation science

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