A non-invasive XRF study supported by multivariate statistical analysis and reflectance FTIR to assess the composition of modern painting materials

The palette used in two paintings by Paul Cézanne, L'étang des soeurs dated c. 1875 and La route tournante, made in the last year of his life (1902), were analyzed using non-invasive spectroscopic methods. X-ray fluorescence combined with principal components analysis (PCA) and supported by reflectance near- and mid-FTIR was shown to be a powerful analytical tool to draw conclusions about the chemical identification of inorganic materials in paintings. Pigments and fillers such us Thénard's blue, Prussian blue, red ochre, kaolin, vermilion, lead white, zinc white and barium sulphate, were identified. Evidence for three different pigments, namely a copper arsenite pigment, chrome green (a mixture of chrome yellow and Prussian blue) and viridian has been obtained by the PCA analysis of elemental compositions of green hues.     

Characterization of Green Paints in Ming and Qianlong Dynasties’ Lin’xi Pavilion by Complimentary Techniques

During conservation of the painted ceiling decoration of Lin’xi Pavilion in the Forbidden City, two distinct paint campaigns were isolated as a unique case study into architectural paint materials during both the Ming and Qing dynasties. Paint samples and cross sections from both paint generations were analyzed with SEM-EDX, time of flight-secondary ion mass spectrometry (ToF-SIMS), XRD, FTIR, and Raman spectroscopies. Similar organic and inorganic materials characteristic of these time periods were identified. The pigments of interest found in both paint generations were botallackite and atacamite polymorphs. This suggests a shift from natural mineral sources to synthetic copper-based pigments for these larger architectural projects.     

Microanalysis of blue pigments from the Ptolemaic temple of Hathor (Thebes), Upper Egypt: a case study

The aim of the present work was to characterize blue pigment samples collected from the Ptolemaic temple of Hathor (Thebes), the western bank of Luxor, Upper Egypt. The characterization of the examined pigments was carried out by means of optical microscopy, scanning electron microscopy equipped with an energy dispersive X‐ray detector, micro X‐ray fluorescence spectrometry and Fourier transform infrared spectroscopy. On the basis of the chemical composition and microstructure of the samples, the blue pigments were identified as Egyptian blue (cuprorivaite, CaCuSi₄O₁₀). Moreover, the micro X‐ray fluorescence analysis revealed significant quantities of lead in the glass phase suggesting that a leaded bronze scrap was used to produce the pigment. The optical examination of the paint layers showed that the pigments were applied on a thin layer consisting of gypsum (CaSO₄?2H₂O) and dolomite (CaMg(CO₃)₂). In addition, some pigment samples showed discoloration mainly in the form of green and black hues. The obtained results helped in improving our knowledge about some painting materials used during the Ptolemaic era of ancient Egypt. Copyright © 2012 John Wiley & Sons, Ltd.     

Attenuated total reflection micro FTIR characterisation of pigment–binder interaction in reconstructed paint films

The interaction of pigments and binding media may result in the production of metal soaps on the surface of paintings which modifies their visible appearance and state of conservation. To characterise more fully the metal soaps found on paintings, several historically accurate oil and egg yolk tempera paint reconstructions made with different pigments and naturally aged for 10 years were submitted to attenuated total reflectance Fourier transform infrared (ATR FTIR) microspectroscopic analyses. Standard metal palmitates were synthesised and their ATR spectra recorded in order to help the identification of metal soaps. Among the different lead-based pigments, red lead and litharge seemed to produce a larger amount of carboxylates compared with lead white, Naples yellow and lead tin yellow paints. Oil and egg tempera litharge and red lead paints appeared to be degraded into lead carbonate, a phenomenon which has been observed for the first time. The formation of metal soaps was confirmed on both oil and egg tempera paints based on zinc, manganese and copper and in particular on azurite paints. ATR mapping analyses showed how the areas where copper carboxylates were present coincided with those in which azurite was converted into malachite. Furthermore, the key role played by manganese in the production of metals soaps on burnt and raw sienna and burnt and raw umber paints has been observed for the first time. The formation of copper, lead, manganese, cadmium and zinc metal soaps was also identified on egg tempera paint reconstructions even though, in this case, the overlapping of the spectral region of the amide II band with that of metal carboxylates made their identification difficult.     

ATR-FT-IR spectroscopy in the region of 550–230 cm−1 for identification of inorganic pigments

A comprehensive study of ATR-FT-IR spectra of 40 inorganic pigments of different colours widely used in historical paintings has been carried out in the low wave number spectral range (550–230 cm^?1). The infrared spectra were recorded from mixtures of pigment and linseed oil. It is demonstrated that this spectral range – essentially devoid of absorption peaks of the common binder materials – can be well used for identification of inorganic pigments in paint samples thereby markedly extending the possibilities of pigment identification/confirmation by ATR-IR spectroscopy into the realm of pigments having no absorptions in the mid-IR region. In some cases the method can be used alone for pigment identification and in many cases it provides useful additional evidence for pigment identification using other instrumental techniques (electron microprobe analysis, XRF, optical microscopy). Together with earlier work this study provides a comprehensive overview of the pigment identification possibilities using ATR-FT-IR as well as a collection of reference spectra and is expected to be a useful reference for conservation practitioners.     

Surface-enhanced Raman spectroscopy analysis of house paint and wallpaper samples from an 18th century historic property

Conservation efforts for heritage buildings require a substantial knowledge of the chemical makeup of materials that were used throughout the lifetime of the property. In particular, conservators are often concerned with the identification of colorants used in both interior and exterior wall treatments (paint, wallpaper, etc.) in order to gain perspective into how the building may have appeared during a certain time period in its existence. Ideally, such an analysis requires a technique that provides molecular level information as to the identity of the colorant as well as other sample components (binders, fillers, etc.), which is useful for dating purposes. In addition, the technique should be easily applied to paint layer samples which can be extremely thin and fragile. Herein we report the surface-enhanced Raman spectroscopy (SERS) analysis of paint and wallpaper samples taken from exterior and interior surfaces of a historic building. Several pigments were identified in the samples, which ranged from early inorganic pigments (lead white, barium sulfate, calcium carbonate, anhydrous chromium(III) oxide) which have been used in house paints for centuries, to a more modern pigment (phthalocyanine blue), developed in the middle of the 20th century. This analysis highlights the usefulness of SERS in such a conservation effort, and demonstrates for the first time pigment identification in house paints and wallpaper using SERS, which has far-reaching implications not only in the field of conservation, but also in forensics, industrial process control, and environmental health and safety.     

In-Situ Investigation of Discolouration Processes Between Historic Oil Paint Pigments

Discolouring interactions between paint pigments have been observed since the mid 19^th century. The source of some of these discolourations is the production of copper sulfides from an interaction between cadmium sulfide pigments and copper containing pigments. In this work, the discolouring interaction between cadmium yellow and malachite pigments was observed dynamically using the environmental scanning electron microscope (ESEM).     

Evolved Gas Analysis‐Mass Spectrometry to Identify the Earliest Organic Binder in Aegean Style Wall Paintings

An organic binder was identified in the painted fragments from the Canaanite palace of Tel Kabri, Israel. Recently dated to the late 18th century B.C.E. by ¹⁴C, Tel Kabri is the most ancient of the Eastern Mediterranean sites in which Aegean style paintings have been found. The application of pigments was suspected to be using an organic binding medium, particularly for the Egyptian Blue pigment. Samples of blue paint were examined using evolved gas analysis‐mass spectrometry (EGA‐MS) in order to overcome the analytical challenges imposed by highly degraded aged proteinaceous materials. Egg was identified as the binder based on the presence of hexadecanonitrile and octadecanonitrile, confirming the use of a secco painting technique. Lysozyme C from Gallus gallus was detected by proteomics analysis, confirming the presence of egg. To our knowledge, this is the earliest use of egg as a binder in Aegean style wall paintings.     

Micro spectroscopy FTIR reflectance examination of paint binders on ground chalk

Summary A restorer's questions on chemical analysis of paint binders to support his complicated work has always had an exceptional appeal for chemists. Non-destructive surface analysis of rather complex materials such as paint binders is possible. The advantages of vibrational spectroscopy related to the details about chemical structure of organic compounds have been combined with sophisticated methods of multivariate data analysis. Reflectance spectra of several paint binders on ground chalk were measured using a fast, sensitive FTIR spectrometer equipped with an infrared microscope. The initial reflectance spectra include sufficient structural information to allow successful classification by hierarchical cluster analysis (HCA). Similarities between the several binders are plotted as dendrograms which are well structured. Their explanation will be discussed in detail. Finally the postulated feature sets will be checked up by principal component analysis (PCA) as to their relevance and information content.     

Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting The Olive Orchard

Vincent van Gogh used fugitive red lake pigments that have faded in some paintings. Mapping their distribution is key to understanding how his paintings have changed with time. While red lake pigments can be identified from microsamples, in situ identification and mapping remain challenging. This paper explores the ability of molecular fluorescence imaging spectroscopy to identify and, more importantly, map residual non-degraded red lakes. The high sensitivity of this method enabled identification of the emission spectra of eosin (tetrabromine fluorescein) lake mixed with lead or zinc white at lower concentrations than elemental X-ray fluorescence (XRF) spectroscopy used on account of bromine. The molecular fluorescence mapping of residual eosin and two carmine red lakes in van Gogh's The Olive Orchard is demonstrated and compared with XRF imaging spectroscopy. The red lakes are consistent with the composition of paint tubes known to have been used by van Gogh.     

The use of microspectrofluorimetry for the characterization of lake pigments

In this paper, the potential of confocal microfluorescence spectroscopy is explored for the characterization of selected red lake pigments and paints based on alizarin, purpurin and eosin (weak, medium and strong emitters). The anthraquinone pigments have been used since ancient times by artists, and eosin lakes were used by impressionist painters. Reconstructions of artists paints based on 19th century recipes are examined. The paints were made using the lake pigments bound in a range of binding media including gum arabic, collagen, a vinyl emulsion and linseed oil. The acquisition of the spectra is rapid, with high spatial resolution and the data reliable and reproducible. Together with full emission spectra, it was possible to acquire well-resolved excitation spectra for purpurin, alizarin and eosin based colors. The present investigation suggests that micro-emission fluorescence can also be used as a semi-quantitative method for madder lake pigments, enabling the determination of purpurin lake ratio in a mixture of purpurin and alizarin, which is important for provenance studies. The data obtained with microfluorescence emission with those acquired with fiber-optic fluorimetry are compared. The spatial resolution used, 8microm, is appropriate for the analysis of individual pigments particles or aggregates in a paint film. Micro-emission molecular fluorescence proved to be a promising analytical tool to identify the presence of selected red lake pigments combined with a range of binding media.     

Pigment identification in artwork using graphite furnace atomic absorption spectrometry

The use of a sampling technique is described for the identification of metals from inorganic pigments in paint. The sampling technique involves gently contacting a cotton swab with the painted surface to physically remove a minute quantity (∼1-2 μg) of pigment. The amount of material removed from the painted surface is invisible to the unaided eye and does not cause any visible effect to the painted surface. The cotton swab was then placed in a 1.5 ml polystyrene beaker containing HNO₃ to extract pigment metals prior to analysis using graphite furnace atomic absorption spectrometry (GFAAS). GFAAS is well suited for identifying pigment metals since it requires small samples and many pigments consist of main group elements (e.g. Al) as well as transition metals (e.g. Zn, Fe and Cd). Using Cd (cadmium red) as the test element, the reproducibility of sampling a paint surface with the cotton swab was approximately 13% in either a water or oil medium. To test the feasibility of cotton sampling for pigment identification, samples were obtained from paintings (watercolour and oil) of a local collection. Raman spectra provided complementary information to the GFAAS, which together are essential for positive identification of some pigments. For example, GFAAS indicated the presence of Cu, but the Raman spectra positively identified the modern copper pigment phthalocyanine green (Cu(C₃₂Cl₁₆N₈). Both Raman spectroscopy and GFAAS were useful for identifying ZnO as a white pigment.     

Examination of Car Paint Samples Using Visible Microspectrometry for Forensic Purposes

Visible (Vis) microspectrometry (MSP) allows objective measurement of color as opposed to the subjective results of visual color comparison. In this paper, the usefulness of this method for comparison of small car paint traces of the same color and the same or different chroma was studied for forensic purposes. Sixteen samples of solid and metallic bright and dark red paints taken from different cars were examined. Each sample was measured in the reflectance mode using a light beam falling perpendicular to the top surface of the sample and on a cross-section. In addition to the MSP measurements, the Raman spectra were produced in order to detect the pigment composition of the samples. On the basis of the obtained results it was stated that discrimination of car paints of the same color is conditioned not only by the kind, number, and amount of the pigments, but rather by the morphology of the paint layer, that is, by the size, shape, orientation, and distribution of the pigment grains in a paint resin. A criterion allowing two samples of the same chroma to be distinguished was established.     

Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting The Olive Orchard

Vincent van Gogh used fugitive red lake pigments that have faded in some paintings. Mapping their distribution is key to understanding how his paintings have changed with time. While red lake pigments can be identified from microsamples, in situ identification and mapping remain challenging. This paper explores the ability of molecular fluorescence imaging spectroscopy to identify and, more importantly, map residual non‐degraded red lakes. The high sensitivity of this method enabled identification of the emission spectra of eosin (tetrabromine fluorescein) lake mixed with lead or zinc white at lower concentrations than elemental X‐ray fluorescence (XRF) spectroscopy used on account of bromine. The molecular fluorescence mapping of residual eosin and two carmine red lakes in van Gogh's The Olive Orchard is demonstrated and compared with XRF imaging spectroscopy. The red lakes are consistent with the composition of paint tubes known to have been used by van Gogh.     

Characterization of Japanese color sticks by energy dispersive X-ray fluorescence,X-ray diffraction and Fourier transform infrared analysis

This work comprises the use of energy dispersive X-ray fluorescence (EDXRF), X-ray diffraction (XRD) and Fourier transformed infrared (FTIR) techniques for the study of the composition of twentieth century traditional Japanese color sticks. By using the combination of analytical techniques it was possible to obtain information on inorganic and organic pigments, binders and fillers present in the sticks. The colorant materials identified in the sticks were zinc and titanium white, chrome yellow, yellow and red ochre, vermillion, alizarin, indigo, Prussian and synthetic ultramarine blue. The results also showed that calcite and barite were used as inorganic mineral fillers while Arabic gum was the medium used. EDXRF offered great potential for such investigations since it allowed the identification of the elements present in the sample preserving its integrity. However, this information alone was not enough to clearly identify some of the materials in study and therefore it was necessary to use XRD and FTIR techniques.     

A joint application of ATR-FTIR and SEM imaging with high spatial resolution: Identification and distribution of painting materials and their degradation products in paint cross sections

A series of paint cross sections from an oil painting are studied by attenuated total reflection in conjunction with Fourier transform infrared spectroscopy (ATR-FTIR) and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX). The imaging modes of both methods were employed to show their potential in the detection of various painting materials and their distribution in the paint cross sections. The goal of this work is to evaluate FTIR and SEM-EDX spectroscopy in order to understand the limitations and strengths of both approaches. It has been revealed that both techniques are complementary in the identification of pigments, extenders and binding media used by an artist. FTIR spectroscopy is also a powerful tool in the studies on degradation products that are formed due to ageing or deterioration of works of art. We attempted to identify such secondary products present in the paint cross section. Cadmium oxalate and a high concentration of zinc palmitate/stearate were detected for the first time with the use of ATR-FTIR imaging technique. These results can complement studies on the conservation issue and provide an insight into understanding the mechanisms of chemical processes that appear in art works.     

Detecting art forgeries using LA-ICP-MS incorporating the in situ application of laser-based collection technology

The nature of art lends itself to forgery as a skilled and determined forger can mimic the techniques and styles of an artist to a level where even an expert can be duped. The authentication of paintings is a subjective process, but modern techniques may provide the means to provenance artist pigments based on elemental composition. This study applies laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS) to the analysis of artist paints from different manufacturers to identify variation between the elemental association patterns of these materials. The technique facilitates comparison of the paints used by an artist with produced works of art to assist provenancing initiatives of questioned materials. The effects of the trace element profiles of the backing substrate and binder on analytical data were also identified. By applying the technique to paint scraped from real paintings, a limited database was created to allow comparison to be made with some of Australian artist, Kathleen O’Connor's artworks and assist in determining production chronology. Data from this study were able to facilitate comparison of blue paints from two different paintings and confirm their co-provenance consequently determining the relative production date of a separate painting of previously unknown age.Preliminary trials of a prototype collection device designed to reduce damage and allow for in situ sampling of artworks were also undertaken. The device, which allows direct laser-based sampling of a complete painting, was tested using a Francis Ryan painting. The prototype allows for the collection of debris directly generated by LA-ICP-MS of a predefined area of a painting prior to subsequent analysis using direct LA-ICP-MS. This collection method significantly minimizes the amount of damage produced by conventional sampling methods. Analyses of the debris collected, using the prototype, were found to be comparable to the scrapings of equivalent paint analysed using direct LA-ICP-MS analysis.     

Pure and cerium-doped zinc oxides: Hydrothermal synthesis and photocatalytic degradation of methylene blue under visible light irradiation

Pristine and cerium-doped zinc oxides with a different dopant concentration between 1 and 5% were fabricated using the hydrothermal method. Prepared materials show direct bandgaps of comparable values. Cerium-doped materials show UV-Vis spectra with broad tails toward the visible light range. Pure zinc oxide displays the flower-like form, while cerium-doped materials possess rod-shaped morphologies. The materials were tested for the degradation performance of methylene blue under visible light irradiation. To elucidate the difference in their performance, further measurements and experiments were conducted. Overall, 3%-cerium doped zinc oxide shows the greatest photocatalytic performance. This is possibly attributed to its rod shape with good uniformity and to the enrichment of oxygen vacancies in its surface layers. Finally, trapping experiments reveal that positive holes and hydroxyl radicals were the predominant active species during the photocatalytic degradation process.     

Analysis of pigments from Roman wall paintings found in the "agro centuriato" of Julia Concordia (Italy)

The analysis of wall painting fragments recovered in the "agro centuriato" of Julia Concordia has been carried out by using Scanning Electron Microscopy equipped with an EDS microanalysis detector (SEM-EDS), Infrared Spectroscopy (FTIR) and X-Ray powder Diffraction (XRD). The pigments used have been identified and the data obtained suggest the presence of three rustic villas richly decorated also with Egyptian blue. The presence of white of aragonite suggest that these villas were decorated during the Imperial Age, in agreement with the recovery of high quality materials and a bronze statue.     

One-dimensional organic photoconductive nanoribbons built on Zn-Schiff base complex

One-dimensional organic nanoribbons built on N-p-nitrophenylsalicylaldimine zinc complex were synthesized via a facile solvothermal route. The scanning electron microscope images revealed that the as-synthesized products were ribbon-like with width mainly of 300-600 nm, thickness of about 50 nm, and length of up to tens of micrometers. Fourier transform infrared spectrum was employed to characterize the structure. Ultraviolet-visible absorption and photoluminescence spectra showed that the products had good photoluminescent property and exhibited blue emission. The conductivity of a bundle of nanoribbons was also measured, which showed that the Schiff base zinc nanoribbons had good photoconductive property. This work might enrich the organic photoconductive materials and be applicable in light-controlled micro-devices or nano-devices in the future.