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.     

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.     

Electrochemical identification of anthraquinone-based dyes in solid microsamples by square wave voltammetry using graphite/polyester composite electrodes.

An electrochemical method for identifying anthraquinone-type dyes in microsamples from works of art, based in the voltammetry of microparticles approach, is reported. Upon attachment onto graphite/polyester composite electrodes, natural pigments aloe, henna, cochineal red, madder lake, kermes, shellac, and alizarin and purpurin taken as reference materials can be identified from their square wave voltammetric profiles in MeCN (0.10 mol L(-1) Bu(4)NPF(6)) and aqueous (0.25 mol L(-1) acetic acid+0.25 mol L(-1) sodium acetate) electrolytes.     

Complementary Standoff Chemical Imaging to Map and Identify Artist Materials in an Early Italian Renaissance Panel Painting

Two imaging modalities based on molecular and elemental spectroscopy were used to characterize a painting by Cosimo Tura. Visible‐to‐near‐infrared (400–1680 nm) reflectance imaging spectroscopy (RIS) and X‐ray fluorescence (XRF) imaging spectroscopy were employed to identify pigments and determine their spatial distribution with higher confidence than from either technique alone. For example, Mary’s red robe was modeled through the distribution of an insect‐derived red lake (RIS map) and lead white (XRF lead map), rather than a layer of red lake on vermilion. The RIS image cube was also used to isolate the preparatory design by mapping the reflectance spectra associated with it. In conjunction with results from an earlier RIS study (1650–2500 nm) to map and identify the binding media, a more thorough understanding was gained of the materials and techniques used in the painting.     

Raman identification of yellow synthetic organic pigments in modern and contemporary paintings: reference spectra and case studies

The characterization of the binding media and pigments in modern and contemporary paintings is important for designing safe conservation treatments, as well as for determining suitable environmental conditions for display, storage and transport. Raman spectroscopy is a suitable technique for the in situ non-destructive identification of synthetic organic pigments in the presence of the complex binding media characteristic of synthetic resin paints or colour lithographic inks. The precise identification of a pigment by comparing its spectrum to that of a reference is necessary when conservation treatments with aqueous solutions or organic solvents are being considered for a work of art, since solubility properties can sometimes vary within the same pigment group. The Raman spectra of 21 yellow synthetic organic pigments, belonging to the monoazo, monoazo lakes, diarylide, disazo condensation, benzimidazolone, bisacetoacetarylide, azo-methine metal complex, isoindolinone and isoindoline groups are presented. Since modern artists frequently mixed paint developed for other applications, in addition to colorants developed as artists' paints, other synthetic organic pigments were included in the spectral database. Two monoazo pigments, Pigment Yellow 1 and Pigment Yellow 3, a benzimidazolone, Pigment Yellow 154 and a phthalocynanine, Pigment Green 7, were identified in sample cross-sections from four modern and contemporary paintings in the collection of The Museum of Modern Art in Ljubljana, Slovenia.     

Electrochemical analysis of natural solid organic dyes and pigments

Square-wave voltammetry of solid naphthoquinone, anthraquinone, and flavone dyes, carmine, cochineal red, indigo, and Prussian blue, was compared to microanalysis (sample consumption <1 mg) of traditional painting pigments and dyes without their preliminary dissolution. Electrochemical analysis was also performed after the samples' hydrolysis simultaneously with thin-layer chromatography. Anthraquinone-based pigments and Prussian blue are reversibly reduced, cochineal red and lac dyes are irreversibly reduced, flavones are mostly reversibly oxidized, dragon's blood is irreversibly oxidized and reduced, and indigo yields both reversible oxidation and reduction. The potential window of these reactions is about 1.4 V wide. This variability permits identification of the kind of pigment or dye, and directly distinguishes, for example, alizarin and purpurin; luteolin and quercetin; or indigo and Prussian blue.     

Identification of naphthoquinonic and anthraquinonic dyes via sequential potential steps applied to the voltammetry of microparticles methodology

An electrochemical method for identifying anthraquinonic, naphthoquinonic, and related dyes in microsamples is reported. This method is based on the sequential application of oxidative and reductive constant-potential polarization steps coupled with the record of square wave voltammograms to solid microsamples of dyes in contact with aqueous electrolytes. As a result, oxidized/reduced products form a layer on the lateral faces of the dye crystals as suggested by attenuated total reflectance-Fourier transform infrared spectroscopy and atomic force microscopy data. This methodology is applied for characterizing alizarin, purpurin, and natural dyes aloe, cochineal red, madder lake, kermes, shellac, and henna attached to paraffin-impregnated graphite electrodes in contact with aqueous potassium phosphate buffer.     

Spectroscopic studies of tin ethyl etiopurpurin in homogeneous and heterogeneous systems

Tin ethyl etiopurpurin is a promising second generation photosensitizer for photodynamic treatment of cancer. This compound is only poorly soluble in aqueous media and, therefore, needs a delivery system for administration to animals. Successful tumor eradication has previously been reported, following light exposure of rats previously administered with the purpurin formulated as a Cremophor El emulsion, in dipalmitoyl—phosphatidyl—choline liposomes or with gamma cyclodextrins. In this paper, we describe some absorbance and fluorescence studies of tin ethyl etiopurpurin in homogeneous and heterogeneous systems. In general, absorption and emission maxima were found to be red shifted as the environment changed from polar to non-polar. The viscosity and dielectric constant of the medium affected the purpurin fluorescence intensity. The liposome preparations were characterized by particle size determination, differential scanning calorimetry and by sensitizer fluorescence quenching studies. Photobleaching studies also showed variation owing to changes in the environment in which the dye was located.     

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.     

Raman microspectrometric investigation of wall paintings in S. Giovanni Evangelista Abbey in Parma: a comparison between two artists of the 16th century

Micro-Raman spectroscopy, combined with gas chromatography and ultra-violet fluorescence photography, was used to study some wall paintings in the S. Giovanni Evangelista Abbey in Parma, Italy. The restoration of some painted chapels enabled a comparison between two painters of the 16th century: Parmigianino (Girolamo Francesco Maria Mazzola, 1503-1540) and Michelangelo Anselmi (1492?-1556?). Micro-Raman spectroscopy determined the palette used by the artists, leading to the identification of different white, yellow, red, brown, green, blue and black pigments. Some pigments are evidence of later restorations. Gas chromatography combined with mass spectroscopy revealed the presence of organic binding media and enabled to distinguish between fresco and secco paintings.     

HPLC Analysis of Alizarin and Purpurin Produced by Rubia tinctorum L. Hairy Root Cultures

We have determined the quantities of the anthraquinones alizarin and purpurin, with especial regard to their effective antigenotoxic activity, in genetically transformed hairy root cultures of Rubia tinctorum L. Hairy roots were cultured on solid and in liquid Gamborg B5 and 1/2 NMS media in a shaking cabinet and in a bioreactor. Methanolic extracts of lyophilized hairy roots were hydrolysed, and then purified by solid phase extraction with good recovery. A new HPLC method was developed for the determination of alizarin and purpurin. The analysis was performed on a Luna C8 RP column using a 45:55 (v/v) mixture of acetonitrile:20 mM ammonium formate-formic acid buffer (pH 3.00) as eluent. Peaks were identified by addition of standards and by diode-array detection. External standardization allowed the determination of alizarin and purpurin with good sensitivity and reliability. The maximum purpurin content was observed in cultures cultivated on solid B5 medium (5.94 mg g⁻¹). The highest alizarin content was measured in cultures cultivated on solid 1/2 NMS medium (2.14 mg g⁻¹).

     

Identification of anthraquinone coloring matters in natural red dyestuffs by high performance liquid chromatography with ultraviolet and electrospray mass spectrometric detection

Reversed phase liquid chromatography with diode array detection (DAD) and electrospray mass spectrometric (ESI MSD) methods were developed for the identification of anthraquinone color components of cochineal, lac dye, and madder – red natural dyestuffs. Electrospray mass spectrometry was found to be more suitable than diode array detection for such analysis because of its higher sensitivity (detection limits in the range 30–90 ng mL^–1) and selectivity. The developed method permitted unequivocal identification of carminic acid and laccaic acid A as coloring matters in examined preparations of cochineal and lac dye, respectively. In madder more chemical color species were found: alizarin, purpurin, lucidin, ruberythric acid, and also aluminum and calcium alizarin lake. Among the methods recommended so far, the present one allows fast, direct, and unequivocal identification of components of very complicated natural products used in art.     

Separation techniques for the analysis of artists' acrylic emulsion paints

Emulsion paints are complex chemical systems. The main problems in their characterization are related to the similarities in polymer composition and to the presence of many different types of additives. Thus high resolution separations, sensitivity, and response specificity are required to identify simultaneously the polymer matrix and the minor components. Especially surfactants and pigments are thought to affect significantly the properties of the paint layers during ageing and their identification is the first step in evaluating the behaviour of these products in working conditions. Representative samples of acrylic emulsion paints for artists have been investigated by pyrolysis-gas chromatography-mass spectrometry (Py-GC-MS) and size exclusion chromatography-Fourier transform infrared spectroscopy (SEC-FTIR), and the results have been compared. All the analysed samples were bound in ethyl acrylate-methyl methacrylate, poly(EA-co-MMA), or n-butyl acrylate-methyl methacrylate, poly(nBA-co-MMA), copolymers. Two types of nonionic surfactants, ethoxylated fatty alcohols and alkylaryl polyethoxylates, commonly used as emulsifiers and dispersive agents have been identified, together with a number of organic pigments.     

茜素红S-硼酸体系对单糖的双光谱识别

利用硼酸与茜素红S和糖中的邻二羟基可逆结合的特点,以硼酸为中介运用竞争结合作用机理构建单糖分析法.在pH7.4的KH2PO4-NaOH缓冲溶液中,茜素红S作为指示剂与硼酸结合生成ARS-BA配合物,其结合常数为5.09×102L/mol.糖与指示剂ARS竞争结合硼酸使指示剂游离出来,产生明显的颜色变化,据此建立糖的识别方法.考察了D-葡萄糖、D-山梨醇、D-半乳糖、D-甘露糖、D-果糖、D-阿拉伯糖和L-阿拉伯糖对上述ARS-BA体系光谱的影响.结果显示:该体系对D-山梨醇和D-果糖有较好的光谱响应,其光谱变化灵敏度依D-山梨醇＞D-果糖＞D-阿拉伯糖～D-半乳糖＞D-葡萄糖＞D-甘露糖＞L-阿拉伯糖之序.     

Investigation of red natural dyes used in historical objects by HPLC-DAD-MS

High performance liquid chromatography (HPLC) with UV-Vis Diode Array Detection (DAD) and electrospray mass spectrometric (ESI-MS) method was utilized for the identification of coloring components of madder, Armenian and Mexican cochineal, lac dye, brazilwood, safflower and dragon blood--probably the most important red natural dyestuffs found in objects of the cultural heritage. UV-Vis detection limits in the range of 0.2-0.6 ng for carminic acid, alizarin and purpurin were achieved using a gradient elution of H2O-0.01% TFA and CH3CN-0.01% TFA. ESI mass spectrometer was also used, as a supportive detection method to the standard DAD, for further analysis of the tested materials, with the ability to analyze dyestuffs as small as one milligram. The presence of madder was revealed in two historical (Hellenistic and Roman period) samples, found in the Mediterranean area, by identifying purpurin in both of them. Munjistin was also identified in one of the samples (Hellenistic period) while alizarin was not detected, raising questions regarding the exact madder type, utilized in the historical samples.     

High-resolution/higher-order derivative spectrophotometry for identification and estimation of synthetic organic pigments in artists' paints

Twenty-two pigments commonly used in artists' paints were investigated by recording the fourth-derivative (d⁴) ultraviolet-visible spectra. Dimethyl sulphoxide was used as a universal solvent. It was possible to distinguish pigments which were chemically very similar and of the same colour, and to quantify the components of binary mixtures without separation by using side-peak-side ratio computations. Acrylic or oil media had no influence on the derivative spectra. For mixtures of more than two components, the pigments were separated by thin-layer chromatography and the d⁴-spectra were recorded directly from the developed spots; 10 ng of each pigment in 5 μl of solvent was enough for the analysis.     

Identification of anthraquinone markers for distinguishing Rubia species in madder-dyed textiles by HPLC

The anthraquinone components of the roots of various species of madder (Rubia spp.) have been used for millennia as red colorants in textiles, carpets and other objects. Although many species of Rubia are known, only a few of them have been used widely for dyeing. Furthermore, though nearly 70 anthraquinones have been found in Rubia species, only a few of these occur consistently at relatively high levels. Knowledge of the plant dyestuffs is helpful for establishing the location of production, production method and/or history of the dyed object. Using plant material and dyed textile fibers obtained from a number of sources, and HPLC with photodiode array and mass spectrometric detection for analysis, we have been able to identify marker anthraquinones that permit differentiation of the more common species of madder used for dyeing in Eurasia. Textiles dyed with all of the species examined contain varying amounts of purpurin, but only those dyed with Rubia akane contain large amounts of 6-hydroxyrubiadin (1,3,6-trihydroxy-2-methylanthraquinone) or its glycosides. Textiles dyed with R. tinctorum contain primarily alizarin, whereas those dyed with R. cordifolia and R. peregrina contain mostly purpurin, munjistin and pseudopurpurin, but little or no alizarin or 6-hydroxyrubiadin. The latter two species cannot reliably be distinguished from each other, however. The plants themselves often contain glycoside precursors not usually seen in the dyed materials.

High-performance liquid chromatographic determination of some anthraquinone and naphthoquinone dyes occurring in historical textiles

A reversed-phase HPLC method has been developed for identification and quantitation of nine natural quinone dyes and applied to historical textile fibres. A Purospher RP18e column was used with a convex gradient of methanol in a mobile phase of 0.1 M aqueous citrate buffer (pH 2.5) and spectrophotometric diode-array detection at 270 nm. For identification of alizarin, purpurin and xanthopurpurin, occurring together in the madder plant, an isocratic method was used with a methanol-0.2 M acetate buffer (pH 4.3) (75:25) as the mobile phase. After an acid extraction of textile fibres and the analysis of the extracts, alizarin and purpurin were identified and quantitated in three fibres.     

The infrared microspectroscopic and energy dispersive X-ray analysis of paints removed from a painted, medieval sculpture of Saint Wolfgang

A spectroscopic study of paints removed from a 15th century sculpture depicting Saint Wolfgang, which is housed in the Ball State Museum of Art, was performed. Infrared spectra on the minute paint samples were obtained using a microscope accessory in the transmission mode, and the spectra were compared to reference spectra of known art pigments and materials. In addition, energy dispersive X-ray spectra were obtained using a scanning electron microscope source. Although many of the pigments found are relatively modern pigments, the first application of paint is composed of materials consistent with the sculpture's medieval date. Pigments identified include brass gilding, calcium carbonate, China clay, lac dye, orpiment, Prussian blue, satin ochre, ultramarine blue and red, and zinc chromate. A zinc tungate finish was also identified.     

A spectrometric and chromatographic approach to the study of ageing of madder (Rubia tinctorum L.) dyestuff on wool

In this work, the lightfastness of wool textile samples, dyed with madder and its principal components alizarin and purpurin, was investigated using two complementary experimental techniques: absorption and emission UV-vis spectroscopy and chromatography (HPLC-PDA). Spectroscopic techniques were used to follow the time course of ageing, whereas chromatography was applied to determine relative compositional changes that occurred after exposure of wool dyed samples to natural and artificial ageing. The results from the two techniques integrate well each other and provide complementary and useful indications about the sensitivity of the dyed textiles to ageing, showing that purpurin is the principal component responsible for the spectral and chromatic properties of madder as well as for its degradation. The fading of both the fibre and dye is reduced in the presence of alum and in the absence of oxygen. The multi-analytical approach used highlights the potential of the UV-vis spectroscopy for the investigation of dyes on textiles. The great sensitivity of the spectrofluorimetry makes this technique particularly promising for a non-destructive study of dyes on works of art.