Artists' Pigments. A Handbook of Their History and Characteristics, Volume 3

Burmester, Andreas; FitzHugh, Elisabeth West

doi:10.2307/1506685

Cited by 23 publications

(65 citation statements)

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“…First, composite pigments were developed, followed by pure anatase pigments and pure rutile pigments, produced by either the chloride or the sulfate process. The different processes yield pigments with different characteristics and containing different trace elements [1,6,25]. A wide variety of inorganic and organic coatings have been employed to decrease the photocatalytic activity or to improve other properties, such as wettability of the pigment [1,6,26].…”

Section: Pigmentsmentioning

confidence: 99%

“…Titanium white pigments used in art before 1940 consist of either composite pigments or pure anatase [1]. After the discovery of rutile, the pigment industry continued the production and supply of anatase for some applications such as artist pigments.…”

Section: Pigmentsmentioning

confidence: 99%

“…In 1921, when Pablo Picasso was forty years old, a method to produce titanium white pigment on an industrial scale was developed and introduced soon after [1]. Since then he has been using titanium white in his work: a photocatalyst [2], which may cause major damage to his legacy.…”

Section: Introductionmentioning

confidence: 99%

“…Since then he has been using titanium white in his work: a photocatalyst [2], which may cause major damage to his legacy. And he was not the only one [1].…”

Section: Introductionmentioning

confidence: 99%

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A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

Driel

Kooyman

Berg

et al. 2016

Microchemical Journal

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Titanium dioxide is the most abundantly used white pigment of the 20th century. The pigment is still in use, both in the production of contemporary art and for the conservation of older artwork as a retouching pigment. Unfortunately, next to its positive characteristics, the pigment has one major potential drawback: its photocatalytic activity that can cause degradation of artworks in which it is used. In this paper, we report on a new method to test the photocatalytic activity of different quality grades of titanium dioxide white pigments. This can be done quantitatively in a chemical lab or qualitatively in a quick and easy way, in a museum or artists' studio, with limited use of lab equipment. The photocatalytic degradation of an organic dye, acid blue 9, in an aqueous solution containing titanium dioxide, is followed over time by means of UV-Vis spectrophotometry. Dye solutions containing pigments with high photocatalytic activity lose their color within several hours of UVA exposure. On the other hand, dye solutions containing UV-stable titanium dioxide do not degrade within 24 h of UVA exposure. Insight in the photocatalytic activity of titanium white pigments, which can be obtained with this novel test, is of great importance for preventive conservation of modern art.

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Section: Pigmentsmentioning

confidence: 99%

Section: Pigmentsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

“…Since then he has been using titanium white in his work: a photocatalyst [2], which may cause major damage to his legacy. And he was not the only one [1].…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

Driel

Kooyman

Berg

et al. 2016

Microchemical Journal

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“…As a result, museums take elaborate precautions to prevent damage to their collection [1]. Unvarnished paintings containing photocatalytic titanium white form a distinct risk group for degradation, since the pigment has the ability to break down the binder through UV light-initiated photocatalysis [2]. Titanium white was first introduced in the 1920s and rapidly became the most widespread pigment of the 20 th century.…”

Section: Introductionmentioning

confidence: 99%

Determination of early warning signs for photocatalytic degradation of titanium white oil paints by means of surface analysis

Driel

Wezendonk

Berg

et al. 2017

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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Titanium white (TiO) has been widely used as a pigment in the 20th century. However, its most photocatalytic form (anatase) can cause severe degradation of the oil paint in which it is contained. UV light initiates TiO-photocatalyzed processes in the paint film, degrading the oil binder into volatile components resulting in chalking of the paint. This will eventually lead to severe changes in the appearance of a painting. To date, limited examples of degraded works of art containing titanium white are known due to the relatively short existence of the paintings in question and the slow progress of the degradation process. However, UV light will inevitably cause degradation of paint in works of art containing photocatalytic titanium white. In this work, a method to detect early warning signs of photocatalytic degradation of unvarnished oil paint is proposed, using atomic force microscopy (AFM) and X-ray photoelectron spectroscopy (XPS). Consequently, a four-stage degradation model was developed through in-depth study of TiO-containing paint films in various stages of degradation. The XPS surface analysis proved very valuable for detecting early warning signs of paint degradation, whereas the AFM results provide additional confirmation and are in good agreement with bulk gloss reduction.

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Differentiation of pine and oil‐based soots in East Asian inks using Raman spectroscopy

Giaccai,

Miller

2024

J Raman Spectroscopy

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East Asian inks are a major component of calligraphy, paintings, and prints in China, Japan, and Korea and are historically made from either pine soot or oil‐lamp soot mixed with a proteinaceous binder. Although the inks from the two different soot sources have different properties in East Asian works of art, no non‐destructive methods to differentiate them scientifically currently exist. Raman spectroscopy (RS) of carbonaceous materials is commonly used to extract information about their properties and has been applied here to East Asian inks. Soots used in making modern inks were collected from 10 sources in China and Japan and analyzed using RS. RS using 405‐, 633‐, and 785‐nm excitation has been able to differentiate pine soot from oil‐lamp soot, also called lampblack. In addition, principal component analysis (PCA) of only 785‐nm Raman spectra has been able to discriminate between two different soots used in a 19th‐century Japanese woodblock printing of Kaishien Gaden. In addition to allowing discrimination between inks on East Asian works of art, these results may be of use to other fields using carbonaceous materials.

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Artists' Pigments. A Handbook of Their History and Characteristics, Volume 3

Cited by 23 publications

References 0 publications

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

Determination of early warning signs for photocatalytic degradation of titanium white oil paints by means of surface analysis

Differentiation of pine and oil‐based soots in East Asian inks using Raman spectroscopy

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