Gloss paints in late paintings by Francis Picabia: a multi-analytical study

Kokkori, Maria; Hubert, Marie-Odile; Balcar, Nathalie; Barabant, Gilles; Sutherland, Ken; Casadio, Francesca

doi:10.1007/s00339-015-9532-2

Cited by 8 publications

(4 citation statements)

References 11 publications

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“…Micro-Raman spectroscopy performed at the laboratory on micro-samples giving access to the stratigraphy of the painting is well-known as an effective tool for identifying the molecular structure of mainly pigments and dyes in illuminated manuscripts, ancient easel or wood paintings (see for example: [1] [2] [3]). In this way a large number of inorganic and organic pigment materials were identified in various contexts (for instance: [4] [5] [6] [7] [8] [9] [10] [11] [12]). With the development of portable instruments in recent years, studies are regularly conducted without sampling to identify pigments and dyes (for example: [13] [3] [14]).…”

Section: Introductionmentioning

confidence: 99%

“…Regarding studies of Modern Art paintings which are the aim of the present work, specific studies have been conducted e.g. for Francis Picabia [12], Pablo Picasso and Jasper Johns works [10] [18] and more recently Giuseppe Capogrossi [19]. However analytical studies of the works of art belonging to this period and especially to more recent periods to study their techniques and materials are still scarce, while the diversification of possible practices and products raises specific challenges.…”

Section: Introductionmentioning

confidence: 99%

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An on-site Raman and pXRF study of Joseph Coteau and Philippe Parpette’s jewelled porcelain: a summit of ceramic art

Colomban

Kırmızı

Clais

et al. 2020

Journal of Cultural Heritage

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Highlights:-Non-invasive mobile approach to characterise artist materials implemented in Modern paintings -Validation of Specular Reflectance Infrared Spectroscopy analyses to identify paint binders -Combination of Raman and infrared spectroscopy for identifying Modern paints binders and pigments -Contactless spectroscopic identification of the binders and pigments of polymeric paints -On-site analytical study of artworks by German and Italian painters of the 1960s Abstract . Seven artworks representing the diversity of paints used around the 1960s and created by German and Italian painters (J. Albers, A. Bonalumi, L. Boille, T. Scialoja and M. Schifano) were studied onsite at the Galleria Nazionale d'Arte Moderna (Rome) with mobile instruments. We present a methodology based on Specular Reflectance Infrared Spectroscopy (SR-FTIR) adapted to unvarnished paintings. Complementary measurements have been performed by Raman spectroscopy. Characteristic bands regarding as-recorded infrared reflectance spectra and Kramers-Kronig Transformationconverted absorbance spectra are identified according to literature and reference spectra recorded on representative commercially available paints. To distinguish the different binders by SR-FTIR, wepropose spectroscopic markers as the comparison of the intensity of carbonyl band around 1730-1735 cm -1 with bands at ~1160 (for acrylic), ~1230 (for PVAc), and 1270 cm -1 (for alkyds). On the other hand, oil/resin binders are characterized by intense and thin CH 2 , CH 3 IR absorption bands around 2920-2850 cm -1 , combined with an intense 1260 cm -1 band and a characteristic concave cradle shape (between ca. 1750 and 1260 cm -1 ). The results obtained establish the relevance of the implemented mobile non-invasive infrared spectroscopy analytical approach by successfully identifying acrylic, vinylic, oil media and enamel paints, with or without opacifiers, which is supplemented by Raman analyses for pigment identification.

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Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

An on-site Raman and pXRF study of Joseph Coteau and Philippe Parpette’s jewelled porcelain: a summit of ceramic art

Colomban

Kırmızı

Clais

et al. 2020

Journal of Cultural Heritage

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“…Nowadays, micro-Raman spectroscopy is well-known as an effective tool for identifying the molecular structures of different compounds present in artwork [1][2][3][4][5]. A large variety of inorganic and organic pigment materials have previously been identified by micro-Raman spectroscopy [6][7][8][9][10][11][12][13][14]. In fact, Fremout and Saverwyns [15] reported a comprehensive digital Raman database of 270 synthetic organic pigments (SOP), Vandenabelle, Edwards, and Moens [1] analyzed 21 azo pigments, and Ropret, Centeno, and Bukovec [11] investigated the Raman reference spectra of 21 yellow SOPs, while Scherrer et al [12] reported a Raman spectral library of 93 SOPs.…”

Section: Introductionmentioning

confidence: 99%

“…In fact, Fremout and Saverwyns [15] reported a comprehensive digital Raman database of 270 synthetic organic pigments (SOP), Vandenabelle, Edwards, and Moens [1] analyzed 21 azo pigments, and Ropret, Centeno, and Bukovec [11] investigated the Raman reference spectra of 21 yellow SOPs, while Scherrer et al [12] reported a Raman spectral library of 93 SOPs. Furthermore, specific studies regarding Modern Art paintings have been conducted for the works of Francis Picabia [9], Pablo Picasso and Jasper Johns [10]. Scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) could be useful for obtaining complementary information about the raw materials used in the artifacts [16,17].…”

Section: Introductionmentioning

confidence: 99%

Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates

Jovanović¹,

Erić

Colomban

et al. 2019

Heritage

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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.

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