Evidence for the catalytic properties of ultramarine pigment

Schnetz, Kokkie; Gambardella, Alessa A.; Elsas, Roel van; Rosier, Joost; Steenwinkel, Edgar E.; Wallert, Arie; Iedema, Piet D.; Keune, Katrien

doi:10.1016/j.culher.2020.04.002

Cited by 15 publications

(5 citation statements)

References 22 publications

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“…Via a free radical process, synthetic UB photocatalyzes the degradation of the oil binder when UV radiation is present, and both natural and synthetic UB can act as aluminosilicate catalysts . UB also catalyzes the photodegradation of polyethylene when added as a pigment. , Burnstock et al reported that ultramarine paint layers in modern oil paintings often present an important conservation issue: the paint is disrupted when saliva and water are used in the cleaning practice .…”

Section: Introductionmentioning

confidence: 99%

Oxidation and Cross-Linking in the Curing of Air-Drying Artists’ Oil Paints

Pizzimenti

Bernazzani

Tiné

et al. 2021

ACS Appl. Polym. Mater.

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In this study, the chemistry of air-drying artist’s oil paint curing and aging up to 24 months was studied. The objective is to improve our molecular understating of the processes that lead to the conversion of the fluid binder into a dry film and how this evolves with time, which is at the base of a better comprehension of degradation phenomena of oil paintings and relevant to the artists’ paint manufacturing industry. To this aim, a methodological approach based on thermogravimetric (TG) analysis, differential scanning calorimetry (DSC), gas chromatography–mass spectrometry (GC–MS), and analytical pyrolysis coupled with gas chromatography and mass spectrometry (Py–GC–MS) was implemented. Model paintings based on linseed oil and safflower oil (a drying and a semidrying oil, respectively) mixed with two historically relevant pigmentslead white (a through drier) and synthetic ultramarine blue (a pigment often encountered in degraded painting layers)were investigated. The oil curing under accelerated conditions (80 °C under air flow) was followed by isothermal TG analysis. The oxygen uptake profiles were fit by a semiempiric equation that allowed to study the kinetics of the oil oxidation and estimate oxidative degradation. The DSC signal due to hydroperoxide decomposition and radical recombination was used to monitor the radical activity over time and to evaluate the stability of peroxides formed in the paint layers. GC–MS was performed at 7 and 24 months of natural aging to investigate the noncovalently cross-linked fractions and Py–GC–MS to characterize the whole organic fraction of the model paintings, including the cross-linked network. We show that the oil–pigment combination may have a strong influence on the relative degree of oxidation of the films formed with respect to its degree of cross-linking, which may be correlated with the literature on the stability of painting layers. Undocumented pathways of oxidation are also highlighted.

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Section: Introductionmentioning

confidence: 99%

Oxidation and Cross-Linking in the Curing of Air-Drying Artists’ Oil Paints

Pizzimenti

Bernazzani

Tiné

et al. 2021

ACS Appl. Polym. Mater.

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“…The only remaining pigment that is blue under the UV light is ultramarine [11]. The faded blue appearance may suggest "ultramarine disease", a catalytic process of the degradation of the oil binder when ultramarine acts as a catalyst of degradation [12]. Ultramarine was clearly detected in the dark yellow paint by its specific Raman absorption at 550 cm −1 (Figure 6a).…”

Section: Blue Paintmentioning

confidence: 99%

Scientific Study of the Origin of the Painting from the Early 20th Century Leads to Pablo Picasso

Bakovic

Karapandza²,

Mcheik

et al. 2022

Heritage

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This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Additionally, the study provides thus far unknown pieces of Olga Picasso’s family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided a broad confirmation as to when the painting was created. The work includes colors (white, black, blue, yellow, green, red, and brown/red) and prevalent use of lead- and iron-based historic pigments—chrome yellow, yellow ochre, and red ochre. It also documents the use of unconventional materials, such as the colorant, Pigment Red 4, and nitrocellulose. This investigation led to the conclusion that the artwork, Red Guitar, is authentic and in accordance with Picasso’s work during the first two decades of the 20th century.

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“…Elementary The only remaining pigment that is blue under the UV light is Ultramarine [11]. The faded blue appearance may suggest the "ultramarine disease", a catalytic process of degradation of oil binder when ultramarine acts as a catalyst of degradation [12]. Ultramarine was clearly detected in dark yellow paint by its specific Raman absorption at 550 cm-1 (Fig.…”

Section: Blue Paintmentioning

confidence: 99%

Multidisciplinary Study of the Origin of the Painting From the Early 20TH Century Leads to Picasso

Bakovic¹,

Karapandza²,

Mcheik³

et al. 2022

Preprint

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This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Furthremore, the study provides thus far unknown pieces of Olga Picasso's family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided broad confirmation about the time when the painting was created. The work includes colors (white, black, blue, yellow, green, red, and brown/red) and prevalent use of lead-and iron-based historic pigments Chrome Yellow, Yellow Ochre and Red Ochre. It also documents the use of unconventional materials, the colorant Pigment red 4 and nitrocellulose. This investigation led to the conclusion that the art, Red Guitar, is genuine and in accord with Picasso’s work during the first two decades of the 20th century.

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Evidence for the catalytic properties of ultramarine pigment

Cited by 15 publications

References 22 publications

Oxidation and Cross-Linking in the Curing of Air-Drying Artists’ Oil Paints

Oxidation and Cross-Linking in the Curing of Air-Drying Artists’ Oil Paints

Scientific Study of the Origin of the Painting from the Early 20th Century Leads to Pablo Picasso

Multidisciplinary Study of the Origin of the Painting From the Early 20TH Century Leads to Picasso

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