New insights into the fading mechanism of Geranium lake in painting matrix”

Chieli, Annalisa; Miliani, Costanza; Degano, Ilaria; Sabatini, Francesca; Tognotti, Pietro; Romani, A.

doi:10.1016/j.dyepig.2020.108600

Cited by 16 publications

(16 citation statements)

References 32 publications

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“…Since geranium lake pigments are well known to degrade in the presence of visible light, [34, 50] it is important to verify if the visible laser used by O‐PTIR could cause any damage to the sample, potentially hampering further analysis by other techniques. This eventuality was tested by collecting a series of replicate O‐PTIR analyses on the same spot of a reference sample (Figure 7), which have then compared to a previous spectrum of this material obtained by conventional FTIR spectroscopy.…”

Section: Resultsmentioning

confidence: 99%

“…Since geranium lake pigments are well known to degrade in the presence of visible light, [34,50] it is important to verify if the visible laser used by O-PTIR could cause any damage to the sample,p otentially hampering further analysis by other techniques.T his eventuality was tested by collecting as eries of replicate O-PTIR analyses on the same spot of areference sample (Figure 7), which have then compared to ap revious spectrum of this material obtained by conventional FTIR spectroscopy.The results show that the spectrum collected by FTIR spectroscopy is very similar to the ones obtained by OPTIR, both the initial (Figure 7, t 0 )a nd the final obtained after 22 repetitions (18 minutes) (Figure 7, t f ), hence proving that O-PTIR, with the suitable experimental parameters,has not caused anoticeable damage to this sensitive material. For this reason, the technique can be considered as non-destructive in terms of sample for the type of materials considered in this study.…”

Section: Methodsmentioning

confidence: 99%

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Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

et al. 2021

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Optical-photothermal infrared (O-PTIR) spectroscopyi sarecently developed technique that provides spectra comparable to traditional transmission FTIR spectroscopy with nanometric spatial resolution. Hence,O-PTIR is apromising candidate for the analysis of historical paintings,aswell as other cultural heritage objects,but its potential has not yet been evaluated. This work presents the first application of O-PTIR to the analysis of cultural heritage,a nd in particular to an extremely small fragment from VanG oghsp ainting L'ArlØsienne (portrait of Madame Ginoux). The striking results obtained, including the detection of geranium lake pigments as well as the complete analysis of the stratigraphy,f ailed with other state-of-the-art techniques,h ighlight the potential of this method. The integration of O-PTIR to the study of cultural heritage opens to the possibility of decreasing the amount of sample extracted, therefore contributing to the preservation of the integrity of artworks while providing acomplete characterization of the materials.

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Section: Resultsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

et al. 2021

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show abstract

Section: Methodsmentioning

confidence: 99%

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

et al. 2021

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Optical‐photothermal infrared (O‐PTIR) spectroscopy is a recently developed technique that provides spectra comparable to traditional transmission FTIR spectroscopy with nanometric spatial resolution. Hence, O‐PTIR is a promising candidate for the analysis of historical paintings, as well as other cultural heritage objects, but its potential has not yet been evaluated. This work presents the first application of O‐PTIR to the analysis of cultural heritage, and in particular to an extremely small fragment from Van Gogh's painting L′Arlésienne (portrait of Madame Ginoux). The striking results obtained, including the detection of geranium lake pigments as well as the complete analysis of the stratigraphy, failed with other state‐of‐the‐art techniques, highlight the potential of this method. The integration of O‐PTIR to the study of cultural heritage opens to the possibility of decreasing the amount of sample extracted, therefore contributing to the preservation of the integrity of artworks while providing a complete characterization of the materials.

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“…Approaching the sample with prior knowledge of the presence of Br from p-XRF analysis, SERS was employed to confirm the presence of Geranium lake, namely eosin Y (213,283,344,372,401,450,475,575,615,641,679,710,768,789,960,1018,1179,1234,1282,1334, 1390, 1458, 1508, 1550, 1576, and 1619 cm −1 [38]; peaks at 935 and 1493 cm −1 are peaks ascribed to the citrate capping agents of the AgNPs). Identification of this lake pigment is paramount to understanding Vuillard's color choices, but also for conservation implications considering that eosin is of the most fugitive lakes, and passages that contain the pigment could have looked more vivid when the picture was first executed [39][40][41].…”

Section: The Palettementioning

confidence: 99%

Complex Relationships: A Materials Study of Édouard Vuillard’s Interior, Mother and Sister of the Artist

2021

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Édouard Vuillard (1868–1949) is well known for his small atmospheric paintings, often portraying his own home and family as the subject matter. Interior, Mother and Sister of the Artist (1893) underwent at least one restoration treatment before being acquired by the Museum of Modern Art (MoMA) in 1934. The painting was treated again in 1954, but no analysis was carried out to understand the artist’s methods and materials at that time. To better understand the choices of Vuillard in Interior, Mother and Sister of the Artist, a comprehensive suite of imaging and spectroscopic analyses was undertaken, including: XRR, UVF and IRR Photography, XRF, Raman spectroscopy and SERS, and µ-FTIR. Statistical analysis on the XRF data using MCR-ALS further revealed some of the intricacies of Vuillard’s technique and color choices, where a large number of pigments were used in designing this intimate composition, including lead white, zinc white, bone black, ochre, umber, vermilion, Geranium lake, red lead, ultramarine, Prussian blue, chrome yellow, chrome orange, zinc yellow, strontium yellow, cadmium yellow, and a chromium oxide green.

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New insights into the fading mechanism of Geranium lake in painting matrix”

Cited by 16 publications

References 32 publications

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

Complex Relationships: A Materials Study of Édouard Vuillard’s Interior, Mother and Sister of the Artist

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