Revealing the invisible: using surface‐enhanced Raman spectroscopy to identify minute remnants of color in Winslow Homer's colorless skies

The fading of pigments in items of importance to cultural heritage, such as paintings, works of art on paper, and textiles, is a ubiquitous problem. Tools currently available that can detect and identify organic colorants in severely degraded works of art are rare, given the heavy deterioration and restricted availability of the sample. Recently, however, surface‐enhanced Raman scattering (SERS) spectroscopy has shown great promise in detecting and identifying mass‐limited samples. The art conservation field has seized upon the opportunity opened up by this powerful analytical technique to enable the identification of microscopic amounts of organic molecules used as artists' colorants in complex matrices, such as biomaterials (i.e. dyed natural textiles, linseed oil biofilms present in oil paintings, etc.), a possibility that was previously precluded due to interfering fluorescence and small sample size. Here, we report SERS spectra recorded directly on single particles of red lake pigments from an important historical watercolor by the American master Winslow Homer (1836–1910) that suffered some degree of fading. The accurate colorant identification provided by SERS, enhanced by comparison with reference samples of historical watercolors, has thus enabled important discoveries regarding the materials and intended meanings behind artworks from one of the most influential American watercolor painters. Copyright © 2011 John Wiley & Sons, Ltd.     

Evaluation of Raman and SERS analytical protocols in the analysis of Cape Jasmine dye (Gardenia augusta L.)

The identification of organic colorants in works of art (such as dyes on textiles or organic pigments) by Raman spectroscopy is generally limited by the presence of a strong fluorescence background. In this paper, the effectiveness of minimizing fluorescence in the analysis of Cape Jasmine (Gardenia augusta L.) by dispersive Raman spectroscopy at three different excitation wavelengths (633, 785 and 1064 nm) and by surface‐enhanced Raman spectroscopy (SERS) with and without acid hydrolysis is evaluated and compared. It is shown that these vibrational techniques offer an alternative analytical approach, when, as is particularly the case of Cape Jasmine, sample preparation procedures that are routinely applied for natural organic dyes and pigments cause alterations that lead to low sensitivity in the more classical high‐performance liquid chromatography‐photodiode array (HPLC‐PDA) analytical protocols. Samples of the yellow dye G. augusta L. in the following forms were analyzed: dyed on alum mordanted wool, dyed on nonmordanted and alum mordanted silk, pigment precipitated on hydrated aluminum oxide, extract mixed with a protein binder and painted on glass, and as a water‐based glaze applied on a mock‐up of a typical Chinese wall‐painting. Raman bands at 1537, 1209 and 1165 cm⁻¹ are identified as discriminating markers for the carotenoid colorant components crocetin and crocin. Copyright © 2009 John Wiley & Sons, Ltd.     

μ-XRF/μ-RS vs. SR μ-XRD for pigment identification in illuminated manuscripts

For the non-destructive identification of pigments and colorants in works of art, in archaeological and in forensic materials, a wide range of analytical techniques can be used. Bearing in mind that every method holds particular limitations, two complementary spectroscopic techniques, namely confocal μ-Raman spectroscopy (μ-RS) and μ-X-ray fluorescence spectroscopy (μ-XRF), were joined in one instrument. The combined μ-XRF and μ-RS device, called PRAXIS unites both complementary techniques in one mobile setup, which allows μ- and in situ analysis. μ-XRF allows one to collect elemental and spatially-resolved information in a non-destructive way on major and minor constituents of a variety of materials. However, the main disadvantages of μ-XRF are the penetration depth of the X-rays and the fact that only elements and not specific molecular combinations of elements can be detected. As a result μ-XRF is often not specific enough to identify the pigments within complex mixtures. Confocal Raman microscopy (μ-RS) can offer a surplus as molecular information can be obtained from single pigment grains. However, in some cases the presence of a strong fluorescence background limits the applicability. In this paper, the concrete analytical possibilities of the combined PRAXIS device are evaluated by comparing the results on an illuminated sheet of parchment with the analytical information supplied by synchrotron radiation μ-X-ray diffraction (SR μ-XRD), a highly specific technique. PACS  33.20.Fb; 61.05.cp; 33.20.Rm; 07.85.Qe; 91.65.An     

Raman spectroscopy of synthetic organic pigments used in 20th century works of art

Raman microscopy allows a non‐destructive characterisation of inorganic and organic painting materials such as pigments and organic dyestuffs. The objectives of this study are the more recent organic pigments typically present in paintings and other art works from the 20th century. More than 20 organic synthetic pigments from different chemical classes could be identified by Raman spectroscopy using different excitation wavelengths (457.9, 476.5, 487.9, 514.5, 632.8, and 1064 nm). To evaluate the performance for real paint samples, varying paint mixtures of the Hansa Yellow pigment PY 3 and the binding medium Mowilith, a polyvinyl acetate (PVAC) compound, were characterised; PY 3 was determined at a 1 wt% level in the binder. In addition, commercial tube paints containing the quinacridone violet PV 19 were studied. The pigment was clearly identified in all of these more complex oil and acrylic paints. Finally, alizarin (PR 83) and a green copper phthalocyanine pigment (PG 7) could unambiguously be identified by Raman microscopy in the painting ‘Woman with mandolin in yellow and red’ of Max Beckmann dating 1950. The discovery of a red naphthol AS pigment by Raman spectroscopy in a sample from the ‘Three field workers’ by Georg Baselitz (1964/1965) demonstrated that in some cases complementary chromatographic methods are needed for a comprehensive identification of the organic pigments. Copyright © 2008 John Wiley & Sons, Ltd.     

The first Raman spectroscopic study of San rock art in the Ukhahlamba Drakensberg Park,South Africa

San rock art sites are found throughout southern Africa; unfortunately this unique heritage is rapidly being lost through natural weathering processes, which have been the focus of various studies conducted in the uKhahlamba Drakensberg Park since 1992. It has recently been shown that the ability of Raman spectroscopy to identify salts on rock faces on a micro, as well as nano scale, can make a contribution to these projects. In order to test the feasibility of undertaking on‐site analyses, a small rock fragment with red and white pigments still attached, which had weathered off the rock face, was analysed with Raman spectroscopy under laboratory conditions, using a Dilor XY Raman instrument and a DeltaNu Inspector Raman portable instrument. A small sample of black pigment (<1 mm²), collected from a badly deteriorated painting and a few relevant samples collected on site, were analysed as well. It was possible to identify most of the inorganic pigments and minerals detected with previous XRD and EDX measurements including whewellite and weddellite coatings, which could be a tool for carbon dating purposes. Two carotenoid pigments were detected for the first time in San rock art pigments. Animal fat was also observed for the first time on both red and white pigments, on the rock face adjacent to the paintings and in highest concentrations on the back of the rock fragment. The spectra quality makes successful on‐site measurements a good prospect. Copyright © 2008 John Wiley & Sons, Ltd.     

Multivariate analysis of combined Raman and fibre‐optic reflectance spectra for the identification of binder materials in simulated medieval paints

The non‐invasive identification of paint materials used in works of art is essential, both for preserving and restoring them, and also for understanding and verifying the history surrounding their creation. As such, the development of suitable non‐invasive techniques has received much interest in recent years. We have investigated the use of Fourier transform (FT)‐Raman spectroscopy and fibre‐optic reflectance spectroscopy (FORS), together with multivariate principal‐component analysis (PCA) techniques, in order to identify the pigment and binding materials used in made‐up samples representative of real artwork. We demonstrate that both types of spectroscopy provide complementary information which can be used to identify the pigments and binders in paint samples. We show that PCA with FT‐Raman spectra can be used to assist in the identification of oil‐based binders, and that the additional data provided by FORS spectra enables PCA on combined spectra to identify more complex proteinaceious and polysaccharide‐based binding media. The results presented here demonstrate that multivariate analyses of lead‐based paints, using data measured by FT‐Raman and FORS in conjunction, have much potential for identifying individual pigments and binders in paint samples. This provides a path towards computer‐assisted characterisation of paint materials on artwork. Copyright © 2013 John Wiley & Sons, Ltd.     

Analytical Instrumental Techniques to Study Archaeological Wood Degradation

Abstract

Historically, a very large variety of everyday artifacts were made of wood, which makes them representative of their historical period or social context and valuable for archaeologists and historians. In order to preserve degraded wood and to develop and apply suitable conservation treatments, chemical and physical characterization of archaeological wood is needed. This review provides the reader with a survey on state-of-the-art of instrumental analytical tools available to understand the morphology and the chemical composition of archaeological wood. The focus is on microscopic and spectroscopic techniques such as scanning electron microscopy (SEM), Fourier transform infrared spectroscopy (FTIR), Raman, nuclear magnetic resonance (NMR) and analytical techniques based on pyrolysis, such as direct exposure–mass spectrometry (DE-MS), pyrolysis–mass spectrometry (Py-MS), pyrolysis–gas chromtography–mass spectrometry (Py-GC/MS), with emphasis on their respective potentialities and limitations. The advantages of techniques based on synchrotron radiation are also discussed. In addition, the applicability of each examined technique is illustrated and discussed through specific examples from the literature.     

Synthetic organic pigments in contemporary Balinese painting: a Raman microscopy study

The colour palette from two 20th century and one 21st century Indonesian paintings from the island of Bali was determined by Raman microscopy. There is very little information concerning the artistic techniques from this region of the world and the influences in materials introduced by western artists. The most interesting finding of our study was the increasing substitution of natural pigments by modern synthetic organic pigments. The findings were also compared with samples of representative pigments commonly used by Bali artists, donated by a renowned Balinese painter. Raman microscopy, combined with Fourier transform infrared spectroscopy, high‐performance liquid chromatography and μ‐EDXRF, was able to separate the different components on several colours, and to identify both synthetic organic pigments and inorganic components. Three azo pigments from the diarylide subclass, PY 83, PY 55 and PO 16, were identified on the yellow, brown, red and orange colours. A copper phthalocyanine blue PB 15:x and a basic dye BB 26 were responsible for the blue colours, the former admixed with ultramarine blue. Goethite was sometimes introduced to create the green colour. Two other basic dyes, BY2 and PG 4, were the main chromophores of the yellow and green samples of local pigments. The inorganic pigments comprised bone white, bone black, carbon‐based black pigment, haematite, goethite, vermilion, ultramarine blue and anatase. Finally, the ground layer of all the paintings was identified as rice starch, with a double function of a white pigment. Copyright © 2012 John Wiley & Sons, Ltd.     

The first in situ Raman spectroscopic study of San rock art in South Africa: procedures and preliminary results

Southern Africa has a rich heritage of hunter‐gatherer, herder and farmer rock art traditions made by using both painted and engraved techniques. Until now, there have been only a handful of studies on the chemical analysis of the paint, as all previous types of analysis required the removal of pigment samples from the sites a practice which has been avoided. Raman spectroscopy is an ideal techniques to analyse the paint non‐destructively and also offers the possibility of in situ work with portable instruments. This article describes the procedures and reports the preliminary results of the first in situ Raman spectroscopic study of rock art in South Africa (also a first worldwide), where we, first, evaluate the capability of a Raman portable instrument in very difficult conditions, second, analyse the paints in order to contribute to a better knowledge of the technology used and, third, evaluate the possible contribution of in situ analyses in conservation studies. The paintings from two different rock art sites were studied. The instrument proved to be highly suitable for in situ analyses in physically very challenging conditions. Most of the pigments and alteration products previously detected under laboratory conditions were identified, thereby giving information on both the pigments and conservation state of the paintings. A layered structure of alteration products and pigment was identified in situ for the first time by controlling the laser power, thereby obtaining the same results as in mapping experiments of cross sections of paint. Copyright © 2010 John Wiley & Sons, Ltd.     

HERAS: A helium jet to prevent damage on works of art in Raman experiments

Raman spectroscopy is often used for non‐destructive analysis of works of art, polymers and biological materials, but in some cases, the laser beam can cause damages on the surface being studied due to the deposited beam energy. When possible, such damage can be prevented by minimizing laser intensity or acquisition time, but this is usually available only on high sensitivity bench‐top spectrometers. Portable Raman spectrometers are commonly not so flexible and an alternative is needed to ensure the safe study of sensitive works of art and other fragile materials. A helium jet aimed directly at the laser spot may prevent this damage from occurring and, in some cases, helps improving the Raman spectra. We designed a simple system (HERAS, Helium Raman System) consisting of a pinhole collimator, coupled to a helium line and a gas mass flux control and tested it on pyroxylin, vermilion and ochre paint references and pigment samples, using a 785 nm portable Raman spectrometer at various laser powers. Experimental conditions slightly differ for each sample, but small burns on the surface were avoided in all cases and only some ablation was observed on the most sensitive materials. The use of this coupled system allows the non‐destructive application of Raman to a wider variety of materials, while the technique remains portable. This setup may be used in bench‐top apparatus as well. Copyright © 2013 John Wiley & Sons, Ltd.     

Raman spectroscopy of minerals and mineral pigments in archaeometry

Minerals, as raw structural materials or pigments, play a fundamental role in archaeometry, for the understanding of nature, structure and status of an artefact or object of interest for cultural heritage. A detailed knowledge of the mineral phases is crucial to solve archaeological problems: Raman spectroscopy is a powerful investigation technique and has been applied extensively in the last 30 years on mineral identification and on pigment degradation. Here we report an updated review, covering the last decade, of the applications of Raman techniques to issues in which raw minerals, including mineral pigments, are involved. Particular attention is devoted to cases where the Raman analysis of minerals is deeper than a simple identification of the phases present in an archaeological or artistic object. Copyright © 2016 John Wiley & Sons, Ltd.     

Applications of Raman Spectroscopy in Agricultural Products and Food Analysis: A Review

Abstract

Raman spectroscopy has been gaining popularity as an analytical tool due to advances in development of Raman spectrometry and the power of personal computers. Due to to its narrow and highly resolved bands, Raman spectroscopy allows for nondestructive extraction of chemical and physical information about samples and aids in rapid on-line analysis without any special sample preparation. In this review, Raman spectroscopic techniques such as dispersive Raman spectroscopy, Fourier transform Raman spectroscopy, surface-enhanced Raman spectroscopy, and spatially offset Raman spectroscopy are briefly introduced. In addition, applications of Raman spectroscopy are explored, within various fields of agricultural products and food, including fruits and vegetables, crops, meat and dairy products, oil, as well as beverages. In addition, some discussion on the importance of Raman spectroscopy as fundamental and applied research of agricultural products and food is provided.     

Laboratory two-dimensional X-ray microdiffraction technique: a support for authentication of an unknown Ghirlandaio painting

Europe has a very rich and diversified cultural heritage of art works, including buildings, monuments and objects of all sizes, involving a great variety of materials. The continuous discovery of new art works opens the problem of their authentication. Advanced analytical techniques can be fundamental to understand the way of life, the culture and the technical and intellectual know-how of the artists. Indeed, the authentication of an art work involves the identification of the used materials, their production techniques and procedures used for the work realization. It is possible to know the origin and provenance of materials, including the location of the natural sources. Advanced analytical techniques also help one to understand degradation processes, corrosion, weathering, and preservation-conservation protocols. In this paper we present a painting attributed to Domenico Ghirlandaio. Ghirlandaio is a well-known artist of fifteenth century who contributes to the apprenticeship of Michelangelo Buonarroti. The study of the pigments used in this painting, which belongs to a private collection, has been supported mainly by means of laboratory two-dimensional X-ray microdiffraction (μXRD²). The possibility to obtain information about not only the phase, but also microstructure allows one to extract interesting consideration and to obtain evidence of the painter’s style and intention. PACS  61.10.Nz; 61.10.Eq; 78.70.En     

便携式拉曼光谱用于文物及文物保护材料光老化作用的快速评价

文物保护与考古工作者最为关心的是从文物中无损提取各种有用信息,了解文物老化状况,以便采取合适的保护措施.文章选用桑蚕丝、书画和彩绘文物常用材料印章、胭脂、朱砂、朱膘国画颜料为样品,采用便携式拉曼光谱仪检测样品在紫外光辐照前后光谱变化,进行文物光老化研究.结果表明,在360 nm波长,照度0.68 w·m-2的紫外光下.蚕丝样品47 h发生明显降解现象;便携式拉曼光谱仪采集的光谱能清晰鉴别出印章印泥种类和来源,灵敏检测出印泥和其他国画颜料经163 h紫外辐照后发生氧化分解及颜料分子结构的变化.该工作为文物现场检测、研究实际环境因素对文物影响作用,为研究文物衰变规律提供了一种便捷检测手段.     

Studies on paint cross sections of a glass painting by using FT‐IR and Raman microspectroscopy supported by univariate and hierarchical cluster analyses

Fourier transform infrared (FT‐IR) and Raman spectroscopy is used for the non‐destructive analysis of painting materials and ageing compounds in micrometric cross sections of a glass painting. The combination of both techniques in conjunction with imaging/mapping function provides the spatial distribution of chemical components identified in vibrational spectra. The aim of our work is to show the applicability of the FT‐Raman mapping technique in the detection of painting materials. We also compare Raman information gained by using two laser excitations at 532 and 1064 nm implemented in microspectrometers with different confocality and spatial resolution. In turn among FT‐IR imaging techniques, we compare chemical images recorded in external reflection and attenuated total reflection modes that give chemical images of different size and spatial resolution. Our FT‐IR and Raman imaging characterize a number of painting materials such as pigments, binders, fillers as well as degradation products. Raman maps are constructed by using the univariate analysis. In turn, a profile of IR images requires the use of a more complex methodology. Here, we compare FT‐IR images of the painting cross sections obtained by using the univariate and hierarchical cluster analysis. We clearly show that the multivariate approach is a powerful tool for the credible construction of IR images, providing the relevant chemical information on the multicomponent stratigraphy of the samples. Moreover, the combination of all the methods allows us to demonstrate their degree of utility for the study on the paint cross sections of the works of art. Copyright © 2013 John Wiley & Sons, Ltd.     

Inside the glassmaker technology: search of Raman criteria to discriminate between Emile Gallé and Philippe‐Joseph Brocard enamels and pigment signatures

The development of solid‐state chemistry at the end of the 19th century offered a variety of routes to colour a glass matrix. Eight enamelled glass objects made by Philippe‐Joseph Brocard and two representative objects made by Emile Gallé have been analysed using a mobile Raman instrument at the Musée des arts décoratifs (Paris) in order to compare their colouration technology. White, blue, yellow, green, orange, red, brown and black pigments have been identified. If most of the pigment palette is common to both craftsmen and typical of the second half of the 19th century, innovative uses are recognized for Gallé (wollastonite as an opacifier, manganese oxides in black mixtures) and Brocard (specific black and grey, pigment mixture, shade modification by small addition of white and red pigments). This preliminary work confirms the potential of Raman spectroscopy, not as a simple analytical method but as a way to document the ancient technology of fine art objects and to discriminate between different genuine productions and/or copies. Copyright © 2014 John Wiley & Sons, Ltd.     

“钟离君柏”墓出土彩绘陶器颜料的光谱分析

利用拉曼光谱结合X射线衍射物相检测方法,对安徽蚌埠双墩春秋中晚期“钟离君柏”墓出土彩绘陶器颜料的物相结构进行了分析测定。结果表明,陶器表面的红色、黄色和黑色颜料皆保存较好,未发生明显变化,分别是无机矿物朱砂(HgS)和针铁矿(α-FeO(OH))及炭黑。同时,拉曼光谱与X射线衍射分析的结果都显示红色颜料朱砂的组成物相单一,不含天然朱砂的伴生矿物石英,且其晶粒尺寸可能在纳米范围,应是由人工合成或经过古人的加工、纯化处理。针铁矿的发现表明春秋时期该矿物己被用作黄色颜料,这是目前己知的针铁矿作为黄颜料使用的最早的实例。     

Colour and art: A brief history of pigments

Human beings have had an inherent urge to leave their mark in the form of works of art since prehistoric times. This has driven the quest for new and better pigments with which to make paints. This paper describes the origins and composition of earliest earth pigments used by primitive man to decorate the walls of caves through to the synthetic pigments developed in more recent times. Despite modern technology, the artist's palette remains a mixture of the pigments used by cave artists, natural pigments used in the middle ages, and modern organic compounds.