Identification of reaction compounds in micrometric layers from gothic paintings using combined SR-XRD and SR-FTIR

Salvadó, Nati; Butí, Salvador; Nicholson, James M.; Emerich, Hermann; Labrador, Ana; Pradell, Trinitat

doi:10.1016/j.talanta.2009.04.005

Cited by 91 publications

(94 citation statements)

References 22 publications

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“…Soluble [20,98,229]. Formation of oxalates [32,56] and acetates [109] upon exposure to oxalic and acetic acid respectively Blackening (especially manuscripts and watercolours, [9, 20, 60, 98, 190, 191, 200, 204, 211-213, 231, 232] - [246] Formation of acetates [109] and carboxylates [56,225,247] Formation of PbS [246] Yellow, red, brown Yellow, red, brown ochres …”

Section: Ultramarine Blue (Na 8 [Al 6 Si 6 O 24 ]S N )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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Section: Ultramarine Blue (Na 8 [Al 6 Si 6 O 24 ]S N )mentioning

confidence: 99%

“…- [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%

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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“…The presence in this sample and in this green layer of a mixture of atacamite and paratacamite has also been confirmed by FTIR microscopy and X-ray microdiffraction (ESRF, line ID21 and ID22, data not shown). However, the degradation of the basic copper chloride (atacamite) can also lead to copper carboxylates as it was proposed in a recent study [24].…”

Section: Resultsmentioning

confidence: 94%

“…Color scale bars, with amplitude in number of counts, are indicated to the right of each ion image. The amplitude of the color scale corresponds to the maximum number of counts mc and could be read as [0, mc]; tc is the total number of counts recorded for the specified m/z (sum of counts in all the pixels) presence of copper carboxylates may also be due to the degradation of the basic copper chloride (atacamite) in a lipidic system (the binding media), as it was proposed in a recent study [24]. This new example of a TOF-SIMS imaging application in Cultural Heritage studies confirms the high analytical potential of this technique for the study of hybrid materials (organic and inorganic).…”

Section: Resultsmentioning

confidence: 99%

Identification of Different Copper Green Pigments in Renaissance Paintings by Cluster-TOF-SIMS Imaging Analysis

Richardin

Mazel

Walter

et al. 2011

J. Am. Soc. Mass Spectrom.

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Time-of-flight secondary ion mass spectrometry (TOF-SIMS) imaging using cluster primary ion beams is used for the identification of a green painting layer on the scene The Angels Concert from the Issenheim Altarpiece (painted in 1516) from a German Renaissance painter, Matthias Grünewald. Copper carboxylate clusters inside a basic copper chloride (atacamite) layer have been identified and located in the copper green layer. The mechanisms of transformation of atacamite into copper carboxylates may be initiated by an aging of the paint layers. The combination of the high mass resolution of the technique together with a micrometer spatial resolution and the possibility to simultaneously identify both minerals and organics, has proven to be the method of choice for the study of the stratigraphy of a paint cross-section.

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“…The banner exhibited areas of an opalescent bloom previously reported to be present on marching banners and which could be attributed to the formation of metal soaps [17,18]. The simultaneous presence of free fatty acids in the binders and metals from pigments make the formation of soaps predictable [19]. However micro-pitting of the paint surface or mould are also known to cause bloom.…”

Section: Ftir-atrmentioning

confidence: 92%

Breaking down banners: analytical approaches to determining the materials of painted banners

2016

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Background: This paper investigates a range of analytical techniques to yield information about the materials and processes used in making painted banners. A textile conservator, technical art historian and paintings conservator, and materials scientist have joined forces to develop a greater understanding of the potential of analytical findings in the identification of materials.Results: Visual examination using low level magnification and microscopy proved to be a crucial starting point and for identification of areas for further analysis. High magnification microscopy of cross sections was invaluable to gather information regarding the build-up of the layers, their interaction and condition. Scanning electron microscopy (SEM) of ion-milled samples showed that different areas of the banner had been prepared in different ways. SEM-EDX (scanning electron microscopy energy-dispersive X-ray spectroscopy) confirmed the presence of the main elements of pigments. Raman enabled identification of specific pigments. Raman also provided confirmation of specific materials (such as the paint filler). Fourier transform infrared spectroscopy with attenuated total reflectance (FTIR-ATR) enabled the identification of oil and resin, confirmation of pigments and fibres. Thin layers made sampling and identification challenging. Presence of materials such as silk and lead white dominated some analysis making interpretation of other materials more difficult. Conclusions:Sample preparation had a significant bearing on the effectiveness of the analysis. Ion-milling provided high quality surface on the cross section samples that enabled material interfaces to be clearly seen. The challenges of finding effective wavelengths for analysis of samples using Raman were clearly evident in this study. Microscopy showed fibres blends, easily missed using FTIR, whereas FTIR was particularly effective in the identification of manmade fibres. While portable instrumentation may be useful, for in-depth understanding of the heterogeneous layered materials sample taking still remains crucial. Commercial makers used many typical grounds and pigments but these were used sparingly, in thin layers, in order to produce a flexible object and also perhaps to reduce costs. The textile was however of high quality, in this case silk. Unexpectedly, the preparation layers do not appear to be consistent across the banner; the reasons for this need further investigation.

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Identification of reaction compounds in micrometric layers from gothic paintings using combined SR-XRD and SR-FTIR

Cited by 91 publications

References 22 publications

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

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

Identification of Different Copper Green Pigments in Renaissance Paintings by Cluster-TOF-SIMS Imaging Analysis

Breaking down banners: analytical approaches to determining the materials of painted banners

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