Raman microscopy in art history and conservation science

Smith, Gregory D.; Clark, Robin J. H.

doi:10.1179/sic.2001.46.supplement-1.92

Cited by 20 publications

(12 citation statements)

References 115 publications

(192 reference statements)

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“…Three measures were taken in each colour area to assure a representative result, and ten to seventy points were analysed in each illumination, according to their size. For most of the pigments, the μ-EDXRF, μ-Raman and FORS allowed an unequivocal characterization and, when necessary, FORS and µ-FTIR were used, as in the case of lakes, its organic additives and binders [8][9][10][11][12][13][14][15][16][17][18][19][20]. Equipment details can be found at the Methods section.…”

Section: Methodsmentioning

confidence: 99%

Colour identification, degradation processes and findings in a fifteenth-century Book of Hours: the case study of Cofre n.º 31 from Mafra National Palace

et al. 2018

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This paper presents the work done as part of a master dissertation on Conservation and Restoration at the Faculty of Sciences and Technology, Nova University of Lisbon. The "Cofre n.º 31" is a French fifteenth century Book of Hours from the Library of the National Palace of Mafra, Portugal. This prayer book, composed by illuminations and devotional texts, was in bad condition due mainly to the rebinding done between eighteenth and nineteenth centuries. According to the assessment of the state of conservation, the main damages observed in the text block and binding were: volume distortion, loose and deformed gatherings, distortion and cockling of folios, and damages in the illuminations. The pigments palette was identified by µ-EDXRF, FORS, µ-Raman and µ-FTIR, which is consistent with the materials used in the fifteenth century. Nevertheless, some particular application techniques such as mixtures and overlays were found, namely in the red colours and specifically in the metallic leaves. Some of these colours also show specific degradation: darkening of the mixture of minium and vermillion; silver tarnishing with strong migration into the parchment support, especially when associated with minium; detachment of azurite, lead white and its mixtures, such as flesh tones and light colours. The main deterioration processes associated to silver and pigments can be assigned to their reactions with humidity and air pollutants, to the grain size of the pigments and to mechanical factors related to the book binding and its use. The presence of different pigments application techniques in different groups of folios lead us to conclude for the existence of a pigments palette with variations, and finally, three different illuminators and two different techniques, confirming the proposals of art history studies.

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Section: Methodsmentioning

confidence: 99%

Colour identification, degradation processes and findings in a fifteenth-century Book of Hours: the case study of Cofre n.º 31 from Mafra National Palace

et al. 2018

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“…In this contest, Raman spectroscopy is retained as standard non-destructive technique for pigment identification in polychrome artworks, as paintings, sculptures and ancient manuscripts [1][2][3][4][5][6]. The recent research has clearly demonstrated how the method can be highly effective both for the direct in situ analysis of artwork-with the aid of portable and compact devices [3]-and for the in-depth study of micro-samples in the laboratory [4][5][6]. The identification of materials is made even easier by online Raman spectra databases, which are accessible without any restrictions and usable also by non-expert users [7,8].…”

Section: Introductionmentioning

confidence: 99%

Combined photoluminescence and Raman microscopy for the identification of modern pigments: explanatory examples on cross-sections from Russian avant-garde paintings

et al. 2019

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In conservation science, the identification of painting materials is fundamental for the study of artists' palettes, for dating and for understanding ongoing degradation phenomena. For these purposes, the study of stratigraphic micro-samples provides unique information on the complex heterogeneity of the pictorial artworks. In this context, we propose a combined-microscopy approach based on the application of time-resolved photoluminescence (TRPL) micro-imaging and micro-Raman spectroscopy. The TRPL device is based on pulsed laser excitation (excitation wavelength = 355 nm, 1 ns pulse width) and time-gated detection, and it is suitable for the detection of photoluminescent emissions with lifetime from few nanoseconds to hundreds of microseconds. In this work, the technique is beneficially applied for identifying different luminescent semiconductor and mineral pigments, on the basis of their spectral and decay kinetic emission properties. The spatial heterogeneities, detected in the micro-sample, are investigated with Raman spectroscopy (785-nm in CW mode) for a further identification of the paint composition on basis of the molecular vibrations associated with the crystal structure. The effectiveness and limits of the proposed combined method is discussed through analysis of a corpus of stratigraphic micro-samples from Russian Avant-garde modern paintings. In the selected samples, the method allows the identification of modern inorganic pigments such as cadmium-based pigments, zinc white, titanium white, chrome yellow, ultramarine and cinnabar.

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“…Raman microscopy has perhaps emerged as the most widely used molecular technique for pigment studies [16]. In a similar way to XRF equipment, instrumental developments have led lately to the availability of A-Raman instruments.…”

Section: Painted Work Of Artmentioning

confidence: 99%

“…Advanced analytical methods also allow us to perform authenticity studies or contribute to the development of simple diagnostic techniques necessary for practical applied conservation [1,2]. The analytical methods used in this field of research are identical with those used at the cutting edge of modern science [3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18][19][20][21][22]. Techniques developed for advanced physics, chemistry and biology have a commonality of application to both ancient and modern materials, since problems encountered in both the advanced technology and cultural heritage areas are similar.…”

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confidence: 99%

Non-destructive analysis and testing of museum objects: An overview of 5 years of research

Adriaens

2005

Spectrochimica Acta Part B: Atomic Spectroscopy

119

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This paper gives an overview of research in or associated with the pan-European network COST Action G8, which aims at achieving a better preservation and conservation of our cultural heritage by increasing the knowledge of art and archaeological objects through advanced chemical and physical analyses. The paper is focussed on the use of various analytical techniques for the examination of cultural heritage materials and includes research examples on painted works of art, ceramics, glasses, glazes and metals. In addition attention is drawn to advances in analytical instrumentation, for example the development of portable techniques to perform analyses on site, and to the need for collaboration between people directly involved in the field of cultural heritage and analytical scientists. D

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Raman microscopy in art history and conservation science

Cited by 20 publications

References 115 publications

Colour identification, degradation processes and findings in a fifteenth-century Book of Hours: the case study of Cofre n.º 31 from Mafra National Palace

Colour identification, degradation processes and findings in a fifteenth-century Book of Hours: the case study of Cofre n.º 31 from Mafra National Palace

Combined photoluminescence and Raman microscopy for the identification of modern pigments: explanatory examples on cross-sections from Russian avant-garde paintings

Non-destructive analysis and testing of museum objects: An overview of 5 years of research

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