Evaluation of the chemical and physical changes induced by KrF laser irradiation of tempera paints

Castillejo, Marta; Martı́n, Margarita; Oujja, M.; Santamarı́a, Jesús; Silva, Diego Augusto Santos; Torres, Ricardo; Manousaki, A.; Zafiropulos, Vassilis; Brink, Oscar F. van den; Heeren, Ron M. A.; Teule, Rianne; Silva, Alberto

doi:10.1016/s1296-2074(02)01143-3

Cited by 29 publications

(31 citation statements)

References 19 publications

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“…SEM analyses on the irradiated areas showed neither evident modifications of surface morphology nor appreciable variations in elemental percentage ratios. Whatever the pigment, colour alterations can be ascribable mainly to the degradation of the organic binding medium, as evident in the ATR-FTIR spectra, from the altered absorption bands of the functional groups -CH 2 -, -CH 3 , C O, as also encountered by other authors [3,16] . Moreover, an important dehydration of FeOOH was clearly visible in the ochre spectrum (Fig.…”

Section: Post-irradiation Analysessupporting

confidence: 57%

Yellow pigments in painting: characterisation and UV laser‐induced modifications

Acquaviva

Baraldi

D’Anna

et al. 2009

J Raman Spectroscopy

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Artistic yellow pigments, commonly employed from antiquity, were investigated by morphological, spectrophotometric and compositional analyses. Namely, scanning electron microscopy-energy dispersive X-ray (SEM/EDX) characterisations and reflectance, attenuated total reflection-Fourier transform infrared spectroscopy (ATR-FTIR) and Raman spectroscopy were carried out on egg yolk tempera models to discriminate the pigments. The models were irradiated with excimer KrF (248 nm) laser at different working conditions, and the effects induced on colour were related to chemical and physical modifications through the same analyses, as a function of laser parameters.It came out that the effects on the pictorial layers are always related to the modifications of the binding medium and, in addition, the laser radiation induces dehydration and transformation of iron oxides in natural earths.

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Section: Post-irradiation Analysessupporting

confidence: 57%

Yellow pigments in painting: characterisation and UV laser‐induced modifications

Acquaviva

Baraldi

D’Anna

et al. 2009

J Raman Spectroscopy

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“…- [56] Protect vermillion from light and from external chloride sources [19,65,121,139,193,194,198,199,202,205,206,210]. Watercolour medium offers little to no protection.…”

Section: Hgsmentioning

confidence: 99%

“…The cause of the discolouration is, however, still under debate (elemental mercury or dark Hg-S-Cl species, as well as grey mercury chlorides) [33,73,199,207]. In tempera, vermillion is only slightly sensitive to 248 nm laser pulses, while in oil medium it shows the lowest discolouration threshold for that laser wavelength compared to a selection of pigments [19,193,199,210]. It is also reported that in oil medium the darkening is worse than in watercolour [194].…”

Section: +mentioning

confidence: 99%

“…The presence of sulphuric pollutants is responsible for the formation of lead sulphide, lead sulphates, and cerussite/hydrocerussite [124,166]. The sensitivity of leadwhite to laser light was studied extensively, especially with respect to laser cleaning and laser based analysis of works of art, but the alteration process is not fully understood, the binding medium probably influencing the results [70,142,150,210,215,233,234]. Analytical evidence of formation of metallic lead and lead (II) oxides upon IR laser irradiation is provided in literature [70,234].…”

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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“…Instruments are transportable or portable and can provide initial results in real time. Within the field of cultural heritage, LIF has been widely applied to identify deterioration or specific materials on frescos and other wall paintings and large architectural surfaces (Castillejo et al, 2003;Gronlund et al, 2006;Fiorani et al, 2010;Nevin et al, 2012;Palombi et al, 2013). Few papers deal with applications of LIF to the study of materials used in contemporary art, such as modern synthetic materials (including plastics and pigments).…”

Section: Introductionmentioning

confidence: 99%

In situstudy of modern synthetic materials and pigments in contemporary paintings by laser-induced fluorescence scanning

Spizzichino

Angelini

Caneve

et al. 2015

Studies in Conservation

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Laser-induced fluorescence (LIF) has found, in the recent years, widespread application to the field of material study and characterization. In particular, LIF has been applied to the assessment of damage, biological growth, and the analysis of specific materials on various surfaces in cultural heritages. Only a few papers deal with the application of LIF to the study of modern synthetic materials (mostly plastics) and pigments, and the analysis of contemporary works of art. Preliminary laboratory measurements on a wide range of plastic and cellulose-based materials, solvents, resins, and varnishes have been performed for rapid material characterization during in situ measurement campaigns in cultural heritage, security, and forensic contexts. Four paintings by Gastone Novelli, in the National Gallery of Modern and Contemporary Art, Rome, have been investigated by a compact LIDAR fluorosensor scanning system developed at the Laboratory of Diagnostic and Metrology in the ENEA Centre of Frascati (UTAPRAD-DIM Laboratory) for LIF measurements. Results and the relative data processing have provided fluorescence images, false color images, and punctual spectral information. The comparison with data and spectra from purpose-built reference databases has enabled recognition of materials on the paintings, and provided information on their production.

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Evaluation of the chemical and physical changes induced by KrF laser irradiation of tempera paints

Cited by 29 publications

References 19 publications

Yellow pigments in painting: characterisation and UV laser‐induced modifications

Yellow pigments in painting: characterisation and UV laser‐induced modifications

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

In situstudy of modern synthetic materials and pigments in contemporary paintings by laser-induced fluorescence scanning

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