Non-invasive identification of metal-oxalate complexes on polychrome artwork surfaces by reflection mid-infrared spectroscopy

Monico, Letizia; Rosi, Francesca; Miliani, Costanza; Daveri, Alessia; Brunetti, Brunetto Giovanni

doi:10.1016/j.saa.2013.06.084

Cited by 88 publications

(66 citation statements)

References 46 publications

(76 reference statements)

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“…On the other hand, Cacarboxylates were successfully identified at the boundary between the ground layer and the paint in egg tempera samples [56,57]. They were as well detected on artworks (laboratory and in situ), especially underneath the varnish and on top of the ground layers [58,59], and on manuscript samples. There, a correlation between calcium oxalates and the loss of the proteinaceous signal in green areas was highlighted, so that the binder's degradation is catalysed by Cu-ions, present in the green pigment, and oxalic acid is released [57,60].…”

Section: Chalk Pigments [(Camg)co 3 : Natural/artificial Lime Whitementioning

confidence: 88%

“…On the other hand, it is decomposed by acids, such as oxalic acid to form oxalates (CuC 2 O 4 ·nH 2 O, mooloite) [32,55,116]. It has been reported that the combination of oxalic acid and chlorides in wall paintings results in Cu-hydroxychlorides Cu 2 Cl(OH) 3 and Ca-oxalates [59]; and that no Cu-oxalates were observed in azurite paint layers [58]. On the other hand, oxalates attributable to the biodegradation of an organic binder were found in both a gypsum preparation (weddellite/whewellite) and in the overlying azurite-containing paint layer [116].…”

Section: Azurite (2cuco 3 ·Cu(oh) 2 Blue)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: Chalk Pigments [(Camg)co 3 : Natural/artificial Lime Whitementioning

confidence: 88%

Section: Azurite (2cuco 3 ·Cu(oh) 2 Blue)mentioning

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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“…Variable amounts of metal oxalates are observed both on the greens and yellows as single band or doublet in the 1400-1200 cm −1 range. The white1 (ZnO/anatase), manganese violet and blue1 (copper phthalocyanine) paints are all characterized by a high content of zinc carboxylates (main bands at 1540 and 1400 cm −1 [32]) and small amount of zinc oxalates (signals at 1360 and 1316 cm −1 [33]) ascribable to saponification and oxidation processes involving zinc oxide and the oil-based medium (Fig. 8c).…”

Section: Characterization Of Binding Mediamentioning

confidence: 99%

Disclosing Jackson Pollock’s palette in Alchemy (1947) by non-invasive spectroscopies

et al. 2016

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Alchemy (1947, Peggy Guggenheim Collection, Venice) is one of the most materic works by J. Pollock, whose palette is extensive, ranging from white to yellow, red, green, violet, blue, black, and silver. Each layer of color was laid on top of a previously dried one and effectively separated from the lower one forming a quite complex stratigraphy with colors intersecting each other. In this study, a non-invasive multi-technique method combining point analysis with Vis-NIR multispectral imaging has been exploited to give insights on the painting technique of the American abstract expressionist. The molecular identification of pigments, colorants and extenders contained in fifteen different paints has been achieved combining key spectral markers from elemental, electronic and vibrational spectroscopies. For those colors exhibiting similar hues but different chemical compositions, a mapping procedure based on false color rendering, obtained by properly mixing three spectral planes from the Vis-NIR multispectral imaging set, has been successfully applied. Relevant for the understanding of the evolution of Pollock's drip technique is the identification of both traditional oil-based paints and oil-modified alkyd media. Point analysis by reflection FTIR scattered throughout the painting enabled mapping the distinct use of traditional and new binding media among painted, squeezed and dripped paints.

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“…This study has been made possible by new developments in noninvasive analytical methods that yield significant information about the artist's methods and materials and allow detailed and critical analysis and imaging of an artwork's entire structure. [30][31][32][33][34][35][36] The study of this painting integrating X-ray fluorescence with FIGURE 7. The FTIR reflection spectrum of the purple painted area (ZnSt: zinc stearates; ZnO: zinc white; U: ultramarine blue; CoV: cobalt violet; BaS: barium sulfate; D: dammar).…”

Section: Discussionmentioning

confidence: 99%

“…33 Fourier transform infrared spectroscopyattenuated total reflectance (FTIR-ATR), in combination with microchemical spot tests, was used to characterize the components of the ground material. 34 Identification of the various binding media present in the decorative layers was not carried out because of the surface contamination by later additions, which included (oleoresinous) varnishes, waxes, and dirt. Analytical equipment to identify trace amounts of binding media was also not available.…”

Section: Methods Of Analysismentioning

confidence: 99%

The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

Nevin

Doherty²

2016

Smithsonian Contributions to Museum Conservation

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Smithsonian Institution Scholarly Press s m i t h s o n i a n c o n t r i b u t i o n s t o m u s e u m c o n s e r v a t i o n • n u m b e r 5The Noninvasive Analysis of Painted Surfaces Scientific Impact and Conservation Practice Edited by Austin Nevin and Tiarna Doherty SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTIONEmphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the Institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Published by SMITHSONIAN INSTITUTION SCHOLARLY PRESS

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Non-invasive identification of metal-oxalate complexes on polychrome artwork surfaces by reflection mid-infrared spectroscopy

Cited by 88 publications

References 46 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

Disclosing Jackson Pollock’s palette in Alchemy (1947) by non-invasive spectroscopies

The Noninvasive Analysis of Painted Surfaces: Scientific Impact and Conservation Practice

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