Fluorimetric Analysis of the Constituent Dyes Within Daylight Fluorescent Pigments: Implications for Display and Preservation of Daylight Fluorescent Artwork

Hinde, Elizabeth; Nel, Petronella; Sloggett, Robyn; Roberts, Ann

doi:10.1179/0197136013z.0000000008

Cited by 12 publications

(6 citation statements)

References 10 publications

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“…For TLC analyses performed on fluorescent colors, ALUGRAM® Xtra SIL G/UV silica plates were used. The selected mobile phase was 2‐propanol: acetone: ammonia (22:1:2) . TLC separations were performed for each Flashe Fluo commercial color and for the reference dyes and optical brighteners.…”

Section: Methodsmentioning

confidence: 99%

“…The selected mobile phase was 2-propanol: acetone: ammonia (22:1:2). [5] TLC separations were performed for each Flashe Fluo commercial color and for the reference dyes and optical brighteners. At the end of the run, each plate was observed in visible light and under a Wood's lamp at 365 and 254 nm, so the retention factor Rf could be calculated for each separated spot.…”

Section: Methodsmentioning

confidence: 99%

“…A methodology based on fluorimetry combined with thin‐layer chromatography (TLC) separation was already reported in the literature to investigate the formulation of fluorescent pigments …”

Section: Introductionmentioning

confidence: 99%

“…A methodology based on fluorimetry combined with thin-layer chromatography (TLC) separation was already reported in the literature to investigate the formulation of fluorescent pigments. [5] In the present work, an analytical approach based on Raman spectroscopy is proposed for the identification of pigments directly in fluorescent artists' colors, that is, commercial paints, as these are the materials actually used by painters. This approach was previously summarized by Bruni and Guglielmi [6] and Francone et al, [7] and its experimental specifics and results are now described in detail.…”

Section: Introductionmentioning

confidence: 99%

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The brightest colors: A Fourier‐transform Raman, surface‐enhanced Raman, and thin‐layer chromatography‐surface‐enhanced Raman spectroscopy study of fluorescent artists' paints

Boscacci

Francone²,

Galli

et al. 2020

J Raman Spectroscopy

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Among the so‐called “special effect” pigments, fluorescent ones play an important role, thanks to their application to a wide range of objects in everyday life. Also in the artistic field, they have been exploited since 1950s by several painters (among others Andy Warhol and Frank Stella), thus representing a particular class of materials with which conservators must confront themselves. Not much information is available about the complete composition of commercial fluorescent paints that are based on fluorescent dyes dispersed in a transparent and brittle resin. Herein, Fourier‐transform Raman spectroscopy and surface‐enhanced Raman spectroscopy (SERS) were used to recognize the main dye components of the paints, whereas thin‐layer chromatography was coupled with SERS to better distinguish further chromophore mixes responsible for the color and/or the fluorescence emission due to the presence of optical brighteners. This methodology results suitable to more fully define the composition of such fluorescent paints originally used by artists in their works, thus providing valuable information to conservators for restoration and retouching efforts.

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Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

The brightest colors: A Fourier‐transform Raman, surface‐enhanced Raman, and thin‐layer chromatography‐surface‐enhanced Raman spectroscopy study of fluorescent artists' paints

Boscacci

Francone²,

Galli

et al. 2020

J Raman Spectroscopy

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“…The technology developed for art authentication and attribution also has implications for utilizing new art forms such as artworks that contain daylight fluorescent colorants (Hinde et al (2013)). The complex dye formulations employed in daylight fluorescent pigment manufacture raise several implications for the display and treatment of this modern palette.…”

Section: Non-destructive Testing -Spectroscopic Signaturesmentioning

confidence: 99%

Art authentication from an inverse problems perspective

Sloggett

Anderssen²

2013

Piantadosi, J., Anderssen, R.S. And Boland J. (Eds) MODSIM2013, 20th International Congress on Modelling and Simulation

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In art authentication and attribution, the overall goal is to confirm whether a particular piece of art P is what it is claimed or thought to be. The claim O is likely to be an original work by a particular artist A. Consequently, the essential modus operandi in art authentication is the collection of information I P about P to compare with the known (and, possibly, yet to be determined) information I O and I A about O and A. The art P is often a painting, which is the current assumption, however, it can be a sculpture or pottery, in fact any artwork or antiquity, and, occasionally, a tapestry or a tablecloth. The connection to inverse problems comes via (a) the collection of the information I P and I O , (i.e. the collection of information about the work in question, and about securely provenanced works by the artist in question),and (b) the optimization of the comparison of I P with I O and A in order to have a strategy that maximizes the confirmation that P is a forgery when that is the situation.

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The shining brightness of daylight fluorescent pigments: Raman and SERS study of a modern class of painting materials

Campanella

Botti

Cavaleri

et al. 2020

Microchemical Journal

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Fluorimetric Analysis of the Constituent Dyes Within Daylight Fluorescent Pigments: Implications for Display and Preservation of Daylight Fluorescent Artwork

Cited by 12 publications

References 10 publications

The brightest colors: A Fourier‐transform Raman, surface‐enhanced Raman, and thin‐layer chromatography‐surface‐enhanced Raman spectroscopy study of fluorescent artists' paints

The brightest colors: A Fourier‐transform Raman, surface‐enhanced Raman, and thin‐layer chromatography‐surface‐enhanced Raman spectroscopy study of fluorescent artists' paints

Art authentication from an inverse problems perspective

The shining brightness of daylight fluorescent pigments: Raman and SERS study of a modern class of painting materials

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