FTIR Studies of the Effects of Pigments on the Aging of Oil

Weerd, Jaap van der; Loon, Annelies van; Boon, Jaap J.

doi:10.1179/sic.2005.50.1.3

Cited by 186 publications

(127 citation statements)

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“…a Fatty acid are intended as their correspondent methyl esters, while glycerol reacted forming (trifluoromethyl)phenyl ethers. [ [12][13][14]. The coloration of the red-brown paint is attributable to the presence of alizarin, an organic red dyestuff mainly composed of 1,2-dihydroxyanthraquinone [15], while the medium was identified as an oil.…”

Section: Instrumental Detailsmentioning

confidence: 99%

“…3a). These peaks are possibly the result of the influence of zinc white in the drying and ageing of the oil as they could refer to the formation of metal carboxylates (soaps) with the carboxylic acids present [12,18]. Metal soaps can be formed after hydrolysis of the fatty acid molecules in the triglycerides of drying oils with metal-based pigments; however, the presence of added stearates as dispersion FD 14), after transesterification and GC-MS analysis (Gly = glycerol, 2C8 = suberic acid, C12 = lauric acid, 2C9 = azelaic acid, 2C10 = sebacic acid, C14 = myristic acid, C16 = palmitic acid, C18:1 = oleic acid, C18 = stearic acid, C19 = nonadecanoic acid, internal standard, * = gondoic acid, # = erucic acid).…”

Section: Instrumental Detailsmentioning

confidence: 99%

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20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Izzo

Ferriani²,

Berg

et al. 2014

Journal of Cultural Heritage

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a b s t r a c tDuring the 20th century, many innovative binders have been rapidly introduced to the art world and soon became popular as artists' paints and pictorial media. However, despite the advantages that new synthetic materials presented, oil paints have never been entirely substituted. Indeed, this paper focuses on the results provided by the scientific analysis of a group works from the oeuvre of Lucio Fontana , all of which created between 1960 and 1964 using oil-based media, and aims to illustrate how oils contained in the pictorial media have influenced these works' respective ageing and degradation processes. Despite the apparent coherence in the behaviour of many of Fontana's creations, some artworks revealed discrepancies in terms of the physical and mechanical behaviour of the pictorial films and in alterations resulting from degradation processes. Samples taken from case studies belonging to the Olii and Fine di Dio series were analysed using optical microscopy, X-Ray Fluorescence (XRF), FourierTransform Infrared Spectroscopy in attenuated total reflectance (FTIR-ATR) and Gas ChromatographyMass Spectrometry (GC-MS) in order to study and identify the materials employed by the artist and the products of their degradation processes. These analyses gave unexpected but useful results (such as the presence of non-drying or slow-drying oils in the paint formulations) which not only provided us with new insight into the nature of the constituent materials, but also facilitated the elaboration of correct conservation measures and suitable restoration interventions.

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Section: Instrumental Detailsmentioning

confidence: 99%

Section: Instrumental Detailsmentioning

confidence: 99%

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Izzo

Ferriani²,

Berg

et al. 2014

Journal of Cultural Heritage

View full text Add to dashboard Cite

show abstract

“…Thus, the formation of carboxylic acids as products of hydrolysis of the triglycerides could be assumed through the resolved band at 1715 cm -1 , which appears as a shoulder in the original spectrum. In addition, the appearance of an intense absorption band at 3450 cm -1 is indicative of the formation of alcohol and/or hydroperoxide, both of which are products of oxidation and polymerization during the aging process of oils [27,28].…”

Section: Analysis Of the Painting Deteriorationmentioning

confidence: 99%

“…The band at 1740 cm -1 attributable to ester carbonyl bonds together with the band at 1175 cm -1 and the lower intensity bands at 1260 and 1110 cm -1 (ester triplet) associated with C-O stretches are indicative of the presence of drying oil [17,[27][28][29][30].The broadening and shifting of the ester carbonyl band to lower frequency could be related to other carbonyl products (acids, ketones, aldehydes, lactones, anhydrides or conjugated carbonyl groups) formed by the aging process [17,[27][28][29][30]. A detailed overview of the changes in the infrared spectra associated with the oil aging and the influence of the pigments on the aging mechanism is reported by Weerd et al [27]. Thus, the formation of carboxylic acids as products of hydrolysis of the triglycerides could be assumed through the resolved band at 1715 cm -1 , which appears as a shoulder in the original spectrum.…”

Section: Analysis Of the Painting Deteriorationmentioning

confidence: 99%

Analytical study of the XIV century wall painting and lime mortars in the "St. George" church in Staro Nagoričane, Republic of Macedonia

Čukovska¹,

Ivanova

Kokolanski

2017

Maced. J. Chem. Chem. Eng.

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This work presents the first comprehensive study of the wall painting in the "St. George" church accomplished mainly by means of Fourier Transform Infrared Spectroscopy using Diffuse Reflectance and Micro-Infrared method (FTIR/DRS/Micro-IR) and the other analytical techniques Optical microscopy (OM), X-Ray Fluorescence (XRF), X-Ray Diffraction (XRD) and Inductively Coupled Plasma -Mass Spectrometry (ICP-MS). The main research objective was characterization of the artistic palette and painting technique, but also determination of the degradation products and observed alterations to the wall painting. Additionally, the lime mortars (plaster and renders) located immediately behind the studied wall painting were analyzed. The analysis demonstrated that mainly natural/mineral pigments were used in the artwork and the majority of painting was executed in combination of fresco and lime-painting technique. The major risk factor in the painting deterioration was found to be the salt efflorescence, which mostly occurred as oxalates and sulfates.Keywords: wall painting; pigments; binders; degradation products; lime mortars ИСПИТУВАЊЕ НА ЅИДНОТО СЛИКАРСТВО И ВАРОВИТЕ МАЛТЕРИ ОД XIV ВЕК ВО ЦРКВАТА "СВ. ЃОРЃИ" ВО СТАРО НАГОРИЧАНЕ, РЕПУБЛИКА МАКЕДОНИЈАОвој труд претставува прво опсежно испитување на ѕидното сликарство во црквата "Св. Ѓорѓи" со помош на Фуриеова трансформна инфрацрвена спектроскопија (FTIR) користејќи дифузна рефлексиона (DRS) и микро-инфрацрвена спектроскопија (Micro-IR), како и со примена на оптичка микроскопија (ОМ), рендгенска флуоресценција (XRF), рендгенска дифракција (XRD) и масена спектрометрија со индуктивно спрегната плазма (ICP-MS). Главна цел на испитувањата беше карактеризација на уметничката палета и сликарската техника, но и одредување на настанатите промени и деградациони продукти на ѕидното сликарство. Во овој труд е претставена и анализата на варовите малтери коишто се употребени во сликарската подлога и во носечката конструкција на ѕидното сликарство. Аналитичките резултати посочија дека во ѕидното сликарство се употребени земјени/минерални пигменти применувајќи комбинација на фреско и варова техника на сликање. Главен причинител на деструкцијата на сликарството е солната ефлоресценција која главно е образувана од оксалатни и сулфатни соли.Клучни зборови: ѕидно сликарство; пигменти; врзива; деградациони продукти; варови малтери L. Robeva-Čukovska, T. Šijakova-Ivanova, Ž. Kokolanski Maced.

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“…Measurements of the spectroscopic parameters (line intensities and positions) probably can be used to determine the age of a painting. In fact, monotonic changes in the spectral lines of the oil after drying out have been demonstrated in [6]. However, polymerization and oxidation processes associated with ageing of the paint layer depend considerably on the environment (temperature, humidity, and composition of the atmosphere) and the illumination conditions.…”

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confidence: 99%

Statistical Approximation of Fourier Transform-IR Spectroscopy Data for Zinc White Pigment from Twentieth-Century Russian Paintings

et al. 2017

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Introduction. Ageing of a paint layer is associated with various physical and chemical processes, in particular with polymerization and oxidation as the binders dry out, and also with chemical reactions when the binders react with the pigments, resulting in formation of new substances (compounds). Photoinduced changes in the binders and pigments, their chemical reactions during storage of the paintings (especially when the atmosphere is signifi cantly polluted), as well as mechanical damage to the paint and varnish layers are also possible. Study of processes associated with ageing of paintings is important for modern applied science. The corresponding results allow us to solve a number of practical problems such as restoration, determination of authenticity, and dating.Several experimental methods can be used to determine the composition of the paint layer in a painting. Optical spectroscopy is a useful tool in analysis of the molecular composition of samples (see, for example, [1,2]). The position and relative intensities of the spectral bands can be used to determine structural changes in the analyte molecules. Fourier transform-IR (FTIR) microspectroscopy is often used as a highly sensitive method, making it possible to work with micronsized samples [3]. Databases for IR spectra of paints and binders are available for interpretation of the experimental results [4,5]. Ageing causes changes in the molecular composition of the paint layers. Measurements of the spectroscopic parameters (line intensities and positions) probably can be used to determine the age of a painting. In fact, monotonic changes in the spectral lines of the oil after drying out have been demonstrated in [6]. However, polymerization and oxidation processes associated with ageing of the paint layer depend considerably on the environment (temperature, humidity, and composition of the atmosphere) and the illumination conditions. Thus identical spectral changes can be observed for paintings of different ages while the measured parameters can be quite different for two paintings of the same age.In order to solve this problem, after determining the time-dependent parameter for a set of paintings of different ages, we use statistical data processing methods. Then for an unknown painting, the parameter can be used to estimate the age. Such an approach requires knowing a specifi c mathematical model for ageing, making it possible to calculate an analytical "dating curve". Nevertheless, analysis of experimental data for a statistically signifi cant number of paintings has shown that such an approach does not work due to the signifi cant scatter in the experimental data and the lack of an adequate analytical model for ageing of paintings under unknown conditions [7]. Furthermore, the results of averaging have shown that the nature of the dependences under study are considerably nonlinear (threshold type) [7].

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FTIR Studies of the Effects of Pigments on the Aging of Oil

Cited by 186 publications

References 23 publications

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Analytical study of the XIV century wall painting and lime mortars in the "St. George" church in Staro Nagoričane, Republic of Macedonia

Statistical Approximation of Fourier Transform-IR Spectroscopy Data for Zinc White Pigment from Twentieth-Century Russian Paintings

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