Pigment-binder interactions in calcium-based tempera paints

Elert, Kerstin; Herrera, Agustín; Cardell, Carolina

doi:10.1016/j.dyepig.2017.09.013

Cited by 27 publications

(24 citation statements)

References 31 publications

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“…24 Actually, the inorganic pigment-organic binder interactions in calcium-based tempera paintings is found that calcium carbonate pigments do not undergo mineralogical changes in the presence of organic binder, instead, calcium carbonate and hydroxide has caused conformational changes in the proteinaceous binder. 25 Considering that the most widely used Chinese traditional red color in paintings is red lead pigment (Pb 3 O 4 , minium) and the most widely employed binder is drying-oil (tung oil), 26 the understanding of degradation products and mechanism of red lead pigment will give the guidance to the preservation and restoration of tung oil related painting works. As is reported, the main component of tung oil is eleostearic acid containing three C C conjugated double bond structures, 27 and 1 mol of tung oil molecule contains 7.5 mol C C conjugated double bonds.…”

Section: Introductionmentioning

confidence: 99%

Degradation of red lead pigment in the oil painting during UV aging

Zhao

Wang

Pan

et al. 2019

Color Research & Application

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The degradation product and mechanism of red lead pigment (Pb 3 O 4 , minium) in pure powder and in modeled oil painting are dynamically tracked during ultraviolet light aging by the change of color, crystal structure, chemical composition, and surface morphology. After UV aging, the color of pure minium pigment gradually darkens from bright orange-red into black, but the color of model paint samples made by minium and tung oil binder changes into brownish and whitish color (ΔE * = 56.60). After aging, the crystal structure of Pb 3 O 4 powder is proved to transfer into plattnerite (β-PbO 2 ) by X-ray diffraction (XRD) pattern, but the degradation product of Pb 3 O 4 in model paint samples is identified as 2PbCO 3 ÁPb(OH) 2 by the noticeable peaks at 24.8 , 27.4 , and 34.3 in XRD pattern, and two new Fourier transform infrared peaks at 1393 cm −1 and 682 cm −1 attributed to the presence of CO 2 − 3 , and a new peak at 1051 cm −1 in Raman spectroscopy. During UV aging, the model paint samples' surface is verified gradually from wrinkled surface into nanoscale sheet-like structure and finally a regular hexagonal plate-like crystal structure, showing hexagonal crystals of hydrocerussit 2PbCO 3 ÁPb(OH) 2 . This reveals the interaction between organic tung oil binder and inorganic minium to accelerate the degradation of Pb 3 O 4 pigment. Therefore, the degradation mechanism is deduced as that CO 2 and H + formed by oxidizing ester/carboxyl groups in tung oil reacts with Pb 2+ to yield the white product of 2PbCO 3 ÁPb(OH) 2 . It is believed that this study will contribute much to the complete understanding of the degradation of minium pigment in oil paintings. K E Y W O R D Sdegradation mechanism, oil painting, pigment, red lead (Pb 3 O 4 ), UV light aging

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Section: Introductionmentioning

confidence: 99%

Degradation of red lead pigment in the oil painting during UV aging

Zhao

Wang

Pan

et al. 2019

Color Research & Application

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“…However, the copolymer layer on the surface of IWP increased the moisture absorption of the COIW to reach 3.71%. As is known, the wettability of the pigment surface by the binder improves with the reduced moisture content . ZP and IWP pigments showed a low level of water‐soluble salts while COIW exhibited a high level of soluble salts in water due to the presence of polymer layer on the surface of IWP particle which contains nonpolymerized monomers and salts from the polymerization reaction.…”

Section: Resultsmentioning

confidence: 97%

“…As is known, the wettability of the pigment surface by the binder improves with the reduced moisture content. [39] ZP and IWP pigments showed a low level of watersoluble salts while COIW exhibited a high level of soluble F I G U R E 5 TEM images of the copolymer (A), IWP (B), and COIW (C) and SEM photos of IWP (D) and COIW (E). COIW, poly(aniline-coanisidine)/iron waste composite; IWP, iron waste powder; SEM, scanning electron microscope; TEM, transmission electron microscope salts in water due to the presence of polymer layer on the surface of IWP particle which contains nonpolymerized monomers and salts from the polymerization reaction.…”

Section: Evaluation Of the Pigmentsmentioning

confidence: 99%

Promoting the effect of zinc‐rich epoxy via poly(aniline‐co‐anisidine)/iron waste composite on corrosion protection of steel

et al. 2019

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The purpose of this article was to evaluate the performance of a poly(aniline‐co‐anisidine)/iron waste composite (COIW) as an anticorrosive pigment for primer coatings. A procedure was outlined to prepare COIW and evaluate its anticorrosive properties following the electrochemical behavior and corrosion test of the coated steel. Various zinc‐rich epoxy primers were formulated by replacing part of the zinc powder (ZP) pigment with COIW. In all formulas, the ratio of pigment to epoxy resin was fixed at 2. In the pigment mix, the percentage of COIW was ranged from 5% to 60% by weight to the ZP. The performance of the formulated primers was estimated by the salt immersion test and potentiodynamic polarization measurement (corrosion potential, polarization resistance, and corrosion rate essays). It was demonstrated that COIW is effective in protecting steel from corrosion when it is used in combination with ZP.

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“…Na literatura, o deslocamento de bandas vibracionais (verificado por espectroscopia de absorção no infravermelho) de proteínas após a interação com carbonato de cálcio é descrito e atribuído à mudança de conformação da estrutura tridimensional da molécula. 20 Devido à presença de carbonato de cálcio na eflorescência da obra em estudo (Figura 3, banda principal em 1086 cm -1 ) e à identificação de proteína pelo teste de Biureto, essa possibilidade foi considerada, porém, ainda assim não houve coincidência entre o espectro da eflorescência e o de proteínas.…”

Section: Resultsunclassified

Aspectos Químicos Na Investigação De Alguns Tipos De Eflorescências Em Bens Culturais

et al. 2019

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The preservation of Cultural Heritage is undoubtedly important for the society, and Conservation Science must dedicate itself to attempts to minimize the inherent processes of degradation to which cultural assets are susceptible. In this context, the evaluation of the chemical aspects of the composition of the objects and their relation with the environment where they are located are essential for the understanding of the decay signs observed, supporting the establishment of effective conservation strategies. These characteristics are demonstrated here by vibrational spectroscopy, scanning electron microscopy and microbiological analysis of efflorescences observed in two types of paintings: a tempera on canvas painting ("Barco com bandeirinhas e pássaros", Alfredo Volpi, 1955) and an oil mural painting of the Throne Room of the National Palace of Mafra (18th-19th century, Mafra, Portugal). The challenges involved in the investigation of the efflorescences are demonstrated in both cases, suggesting the occurrence of degradation processes of different origins: in Alfredo Volpi's tempera on canvas painting, the migration of substances from the preparation layer to the surface of the pictorial layer and microbiological colonization; and in the mural painting the migration of calcium salts from the constituent materials of plaster and of neoformation, besides associated microbiological colonization.

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Pigment-binder interactions in calcium-based tempera paints

Cited by 27 publications

References 31 publications

Degradation of red lead pigment in the oil painting during UV aging

Degradation of red lead pigment in the oil painting during UV aging

Promoting the effect of zinc‐rich epoxy via poly(aniline‐co‐anisidine)/iron waste composite on corrosion protection of steel

Aspectos Químicos Na Investigação De Alguns Tipos De Eflorescências Em Bens Culturais

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