Study of modern artistic materials using combined spectroscopic and chromatographic techniques. Case study: painting with the signature “Picasso”

López-Ramírez, María Rosa; Navas, Natalia; Rodríguez-Simón, Luis Rodrigo; Otero, Juan C.; Manzano, Eloísa

doi:10.1039/c4ay02365j

Cited by 20 publications

(11 citation statements)

References 32 publications

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“…Rhus vernicifera, Rhus succedanea, and Melanorrhoea usitata were the three main species of lacquer trees. [9][10][11][12] As far as we know, there have been several analytical methods used to characterize lacquer objects, such as Fouriertransform infrared spectroscopy (FT-IR), 9,13,14 Scanning Electron Microscopy augmented by Energy Dispersive X-ray Spectrometry (SEM-EDS), [15][16][17][18] GC-MS, 14 stereoscopic microscope analysis, 15,16,19 Raman spectra analysis 20,21 and lacquering cra analysis. 16 Cross-sectional observation can provide information on the layered construction of the ancient lacquerware samples.…”

Section: Introductionmentioning

confidence: 99%

Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

Zhao

et al. 2016

Anal. Methods

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Section: Introductionmentioning

confidence: 99%

Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

Zhao

et al. 2016

Anal. Methods

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“…The chemical composition of the ten acrylic paints was assessed by LIBS and micro-Raman spectroscopies ( Table 1 ), using the information reported in the literature [ 27 , 28 , 29 , 30 , 31 , 32 ] and NIST [ 33 ] and IRUG [ 34 ] databases. Further information on the chemical composition of the phthalocyanine paints (PBC, PBL and PGL) can be found in our previous work [ 35 ].…”

Section: Resultsmentioning

confidence: 99%

“…Bands from calcium sulfate (1007 cm −1 ), calcium carbonate (1085 cm −1 ) and barium sulfate (985 cm −1 ) are observed in each acrylic paint and attributed to the fillers. Additional bands at 482, 600, 620, 837, 841, 1106, 1150-1200, 1240, 1305, 1449, 1452, 1728, 2411 and 2800-3100 cm −1 are attributed to the constituents of the polymeric binder [27][28][29][30][31][32]. LIBS results reported in Table 1 show the presence of the main paintings markers such as Co for cobalt blue (CB), Cd for cadmium red (CR) and cadmium yellow (CY), Cu and Ti for permanent blue light (PBL), Cu for permanent green light (PBC and PGL), CN and C 2 for primary red magenta (PRM), Ti, CN and C 2 for primary yellow (PI), Ti for titanium white (TW), and Zn for zinc white (ZW).…”

Section: Chemical Characterization Of the Acrylic Paints With Libs An...mentioning

confidence: 99%

Reflectance Spectroscopy as a Novel Tool for Thickness Measurements of Paint Layers

et al. 2023

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A major challenge in heritage science is the non-invasive cross-sectional analysis of paintings. When low-energy probes are used, the presence of opaque media can significantly hinder the penetration of incident radiation, as well as the collection of the backscattered signal. Currently, no technique is capable of uniquely and noninvasively measuring the micrometric thickness of heterogeneous materials, such as pictorial layers, for any painting material. The aim of this work was to explore the possibility of extracting stratigraphic information from reflectance spectra obtained by diffuse reflectance spectroscopy (DRS). We tested the proposed approach on single layers of ten pure acrylic paints. The chemical composition of each paint was first characterised by micro-Raman and laser-induced breakdown spectroscopies. The spectral behaviour was analysed by both Fibre Optics Reflectance Spectroscopy (FORS) and Vis-NIR multispectral reflectance imaging. We showed that there is a clear correlation between the spectral response of acrylic paint layers and their micrometric thickness, which was previously measured by Optical Coherence Tomography (OCT). Based on significant spectral features, exponential functions of reflectance vs. thickness were obtained for each paint, which can be used as calibration curves for thickness measurements. To the best of our knowledge, similar approaches for cross-sectional measurements of paint layers have never been tested.

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“…Forensic analysis of artworks is used extensively to gain insights into methodology, technique and provenance [1], and to facilitate restoration efforts [2]. However, most scientific analyses of artwork have focused on direct physical examination using spectroscopic or analytical chemical techniques [2][3][4][5][6].…”

Section: Introductionmentioning

confidence: 99%

Sampling Techniques and Genomic Analysis of Biological Material from Artworks

Roby,

Wiscovitch-Russo,

Hart

et al. 2024

Preprint

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The genomic analysis of biological material obtained from artwork or cultural heritage artifacts can be used to guide curation, preservation and restoration. However, the recovery of biological samples from artworks is dependent on the sampling technique used and the media from which the biological materials are recovered. The ideal sampling method should be non-invasive, yet robust. Only rare examples of direct comparisons among sampling techniques have been reported. To develop a framework for the recovery of biological samples for subsequent microbial DNA analysis, we studied five artworks on paper and compared three sampling methods, each with increasing degrees of invasiveness. Minimally invasive swabbing techniques collect samples from the surface, whereas more aggressive techniques such as wet vacuuming were expected to yield more biological material from within the support media. We report a comparison of collection techniques to generate microbial DNA sequence data from artworks on paper. We observed that wet vacuuming resulted in higher DNA recovery than double swabbing and core punches; however, all three techniques yielded satisfactory microbial DNA sequences. Diverse microbial populations existed to varying degrees on the corners and centers of the five artworks studied, but the distribution of the total biomass was relatively even across the surfaces of the works sampled. Studies of peripheral regions, where sampling is less likely to cause alterations to the artwork, could thus yield useful results in microbiome studies. These results provide a framework for sampling artworks on paper to obtain biological material for microbial genomic analysis. The methods described may provide microbiome identification to facilitate restoration and preservation, and might also contribute to the determination of provenance.

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Study of modern artistic materials using combined spectroscopic and chromatographic techniques. Case study: painting with the signature “Picasso”

Abstract: A painting bearing the signature “Picasso” was investigated and its components were characterised using micro-Raman spectroscopy combined with other analytical techniques such as SEM/EDX, ATR-FTIR and GC-MS).

Cited by 20 publications

References 32 publications

Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

Reflectance Spectroscopy as a Novel Tool for Thickness Measurements of Paint Layers

Sampling Techniques and Genomic Analysis of Biological Material from Artworks

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