Py-GC/MS applied to the analysis of synthetic organic pigments: characterization and identification in paint samples

Ghelardi, Elisa; Degano, Ilaria; Colombini, Maria Perla; Mazurek, Joy; Schilling, Michael; Learner, Tom

doi:10.1007/s00216-014-8370-y

Cited by 58 publications

(35 citation statements)

References 23 publications

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“…3c) consistent with that of PR3 [16]. In the painting Mural (1943, University of Iowa Museum of Art, Iowa City),the use of PR3 in mixture with vermillion was also suggested by Gelardi et al [17] by Py-GC/MS. The reflectance profile (Fig.…”

Section: Red Paintsmentioning

confidence: 58%

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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Section: Red Paintsmentioning

confidence: 58%

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

et al. 2016

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“…In addition, 2-naphthol and 4-methyl-5-nitro-benzenamine were also detected. These pyrolysis products can be related to the presence of the organic pigment PR3 [24,25]. The pyrolysis profile of sample 1 was also characterized by the presence of different species characterized by a mass spectrum with m/z 73, 147, 221, and 281 as common ions, characteristic of the pyrolysis of a siloxane resin [26].…”

Section: Collingwood Mural (1984)mentioning

confidence: 99%

A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques

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Degano

et al. 2016

Microchemical Journal

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“…Pyrolysis-gas chromatography/ mass spectrometry (Py-GC/MS) has also been used to identify synthetic organic pigments in paintings. In some cases, this technique produces the same fragments for more than one pigment, but the overall pyrolysis profile generally allows the identification of the individual pigment; however only the most abundant products are typically detected [9].…”

Section: Introductionmentioning

confidence: 99%

Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments

et al. 2017

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Vincent van Gogh's still lifes Irises and Roses were investigated to shed light onto the degree to which the paintings had changed, both individually and in relation to each other since they were painted, particularly in regard to the fading of the red lakes. Non-invasive techniques, including macroscopic X-ray fluorescence mapping, reflectance imaging spectroscopy, and X-radiography, were combined with microanalytical techniques in a select number of samples. The in-depth microchemical analysis was necessary to overcome the complications that arise when evaluating by non-invasive methods alone the compositions of passages with complex layering and mixing of paints. The results obtained by these two approaches were complemented by color measurements performed on paint cross-sections and on protected edges, and with historical information provided by the artist's own descriptions, early reviews and reproductions, and the data was used to carry out digital color simulations that provided, to a certain extent, a visualization of how the paintings may have originally appeared.

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Py-GC/MS applied to the analysis of synthetic organic pigments: characterization and identification in paint samples

Cited by 58 publications

References 23 publications

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

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

A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques

Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments

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