Dosimetry of paintings: determination of the degree of chemical change in museum exposed test paintings (lead white tempera) by thermal analysis and infrared spectroscopy

Cohen, Neil S.; Odlyha, Marianne; Campana, R.; Foster, G. M.

doi:10.1016/s0040-6031(00)00612-2

Cited by 28 publications

(16 citation statements)

References 6 publications

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“…Leadwhite tempera applied on fresco paintings yields PbO 2 , as the reaction takes place in alkaline environment [213]. Also, differences in naturally and artificially aged samples are observed, the latter being less degraded [230]. Lead oxalates were observed on leadwhite treated with oxalic acid [32], and on real samples [56]; lead acetate was detected upon exposure to acetic acid [109].…”

Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

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On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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This review is to be considered part of the development of the MEMORI dosimeter, to evaluate the impact of climate (relative humidity, temperature, illumination, etc., including volatile organic compounds) on moveable objects. In the framework of the MEMORI project, Ghent University was given the task to assess pigment degradation upon acetic acid exposure, and to collect information on pigments' stability. Moreover, to obtain a wider knowledge on the stability of common pigments, the effect of a variety of parameters was reviewed from literature. Discolouration and degradation of pigments significantly alter the legibility of polychrome works of art, so that the development of monitoring methods to ensure the preservation of cultural heritage objects is of primary importance.

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Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

“…Considering it is a carbonate, it is relatively stable, although soluble in acids [20,98,229]. Also, it shows catalytic effects [230]. Upon heating, massicot (orthorhombic PbO) is formed, then litharge (tetragonal PbO) and finally red lead (Pb 3 O 4 ) [229].…”

Section: Leadwhite (2pbco 3 ·Pb(oh) 2 )mentioning

confidence: 99%

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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“…This reinforces the notion that there is a complex interaction between LW and the binder, which is presumably a key part of the LW‐EY spectra not simply being additive sums of their components. We also note that, unlike work performed previously on aged LW‐EY samples, the reactions observed here appeared to be endothermic in nature.…”

Section: Resultsmentioning

confidence: 99%

Estimating the concentrations of pigments and binders in lead‐based paints using FT‐Raman spectroscopy and principal component analysis

Pallipurath

Vőfély

Skelton

et al. 2014

J Raman Spectroscopy

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Understanding the composition of the paints used on works of art is crucial in attributing them to the artist or workshop that created them, as well as to devising strategies for their preservation and restoration. Much current research is focussed on the development of non-invasive spectroscopic methods, enabling in situ paint analysis without the need for sampling. However, whilst a lot of work has been carried out on looking at the composition of artists' materials qualitatively, little has been performed to analyse them quantitatively. In this work, we investigate the use of Fourier transform Raman spectroscopy, in isolation and in conjunction with complementary fibre optic reflectance spectroscopy, to look at the spectral changes that occur with varying the paint/binder ratio in model historic lead-based paints. When used in conjunction with multivariate analysis, we demonstrate that it can be possible to obtain a semi-quantitative estimation of the composition of a paint film from its Fourier transform Raman spectrum, given a set of suitable reference spectra recorded from paints produced within the workable mixture range. This represents a tentative first step towards a semi-automated and quantitative method for analysing cultural heritage objects, which may help boost our understanding of their history, and enable conservators to make more informed decisions so as to ensure their preservation.

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“…The idea is to expose specimens of the materials of interest in conservation areas and monitor changes in the molecular structure by suitable, possibly non-destructive, analytical techniques. In this perspective, the use of mock paintings as dosimeters of the environmental impact on paintings has been proposed, tested and evaluated [13][14][15][16][17][18][19]. These systems, consisting of variously pigmented tempera test panels, were first calibrated by artificial ageing and, then, exposed in real conservation sites.…”

Section: Introductionmentioning

confidence: 99%

Automatic devices for monitoring environmentally induced auto-oxidative degradation of artistic materials in conservation sites

Cavicchioli

Faria

Neves

et al. 2008

Sensors and Actuators B: Chemical

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Dosimetry of paintings: determination of the degree of chemical change in museum exposed test paintings (lead white tempera) by thermal analysis and infrared spectroscopy

Cited by 28 publications

References 6 publications

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

Estimating the concentrations of pigments and binders in lead‐based paints using FT‐Raman spectroscopy and principal component analysis

Automatic devices for monitoring environmentally induced auto-oxidative degradation of artistic materials in conservation sites

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