ATR-FTIR imaging for the analysis of organic materials in paint cross sections: case studies on paint samples from the National Gallery, London

The potential of attenuated total reflection Fourier transform infrared (ATR-FTIR) imaging for the characterisation of the chemical components of paint cross sections from old master paintings was investigated. Three cross sections were chosen to cover a variety of the analytical problems encountered in samples from paintings. The binding medium and degradation products in a green paint sample from a fifteenth-century Florentine painting were imaged, as well as a thin layer within a cross-section from a fifteenth-century German painting, and multiple thin surface coatings on a painting of the 1760s by Peter Romney. The application of chemometric methods for further analysis of the large data set generated for each sample was also explored. The study demonstrated the advantages of ATR-FTIR imaging, which allowed images to be obtained with high spatial resolution (ca. 3-4 microm) without the need to microtome the sample. The gain in sensitivity in detecting trace materials and the information derived from the location of these compounds in the sample was especially valuable, improving interpretation of the FTIR analysis and extending knowledge of the sample composition beyond that obtainable with other analytical techniques.     

Application of emission spectrometer with laser sampler to microanalysis of pigments from Hubert Robert’s canvas painting

Laser-induced breakdown spectroscopy has been applied to layer-by-layer pigment material microanalysis from the different sections of Hubert Robert’s (1733–1808) painting “Landscape of a Pool with an Obelisk and Ruins of an Aqueduct”. This painting consists of two sections and, therefore, requires thorough examination of the pigments from both sections in order to identify their authenticity. The data obtained on the elemental composition of the paint layers including the ground layer alongside with art examination have formed the basis for the identification, attribution and restoration of both investigated sections of the painting.     

Progress in the application of ATR-FTIR microscopy to the study of multi-layered cross-sections from works of art

As a non-invasive or micro-invasive technique attenuated total reflectance Fourier transform infrared spectroscopic (ATR-FTIR) microscopy is a valuable tool for the analysis of materials in works of art. An application for which it has received growing interest is in the analysis of paint cross-sections. However, FTIR microscope configurations, objectives' geometries and low spatial resolutions, and issues of sample preparation have often hampered the characterization of individual layers or features in cross-sections. With the use of case studies, it is demonstrated here that an ATR-FTIR microscope featuring a crystal of optimized geometry and a viewing capability feature allows characterization of individual layers, or areas within layers, of 10 microm thickness or less in single measurements. Of particular value is a remote aperturing feature which allows the analysis of selected areas within the contact footprint of the ATR crystal. Since the technique is non-destructive, the same area can be analyzed by complementary microscopic techniques such as Raman spectroscopy and scanning electron microscopy with energy-dispersive spectroscopy. Pyrolysis gas chromatography-mass spectrometry was also used in some cases to corroborate the spectroscopic data. The analyses presented provided data which were important in informing art historical interpretation and conservation of the artworks examined.     

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.     

Monet's painting under the microscope.

An oil painting by Claude Monet, Port-Goulphar, Belle-Ile 1887 (collection of the Art Gallery of New South Wales), was examined to determine both the identity of the pigments used by the artist in this painting and his technique of mixing colors and laying paint on the canvas. The extremely complex construction of the painting was revealed by optical microscopy, scanning electron microscopy (SEM), energy dispersive X-ray analysis (EDS), and X-ray mapping (XRM) analysis of cross sections of paint flakes excised from damaged regions of Port-Goulphar, Belle-Ile. Nine different pigments were found on the painting. Many of the identified colors were modern pigments that became available only late in the 19th century as a result of scientific advances in pigment chemistry. Although similar colors were available in a natural mineral form, they lacked the vivid color of their manufactured counterparts. The use of these new synthetic metallic oxide colors by Monet accounts for the brilliance of his paintings. In addition, a separation between successive paint layers was observed in some areas of paint chip cross sections, indicating that oil-based paint was applied to paint that had dried, and consequently, Port-Goulphar, Belle-Ile was painted over a long period of time. This observation is contrary to the general perception of Monet's technique of painting freely and quickly.     

Mass Spectrometric and Synchrotron Radiation based techniques for the identification and distribution of painting materials in samples from paints of Josep Maria Sert

ABSTRACT: BACKGROUND: Establishing the distribution of materials in paintings and that of their degradation products by imaging techniques is fundamental to understand the painting technique and can improve our knowledge on the conservation status of the painting. The combined use of chromatographic-mass spectrometric techniques, such as GC/MS or Py/GC/MS, and the chemical mapping of functional groups by imaging SR FTIR in transmission mode on thin sections and SR XRD line scans will be presented as a suitable approach to have a detailed characterisation of the materials in a paint sample, assuring their localisation in the sample build-up. This analytical approach has been used to study samples from Catalan paintings by Josep Maria Sert y Badia (20th century), a muralist achieving international recognition whose canvases adorned international buildings. RESULTS: The pigments used by the painter as well as the organic materials used as binders and varnishes could be identified by means of conventional techniques. The distribution of these materials by means of Synchrotron Radiation based techniques allowed to establish the mixtures used by the painter depending on the purpose. CONCLUSIONS: Results show the suitability of the combined use of SR FTIR and SR XRD mapping and conventional techniques to unequivocally identify all the materials present in the sample and their localization in the sample build-up. This kind of approach becomes indispensable to solve the challenge of micro heterogeneous samples. The complementary interpretation of the data obtained with all the different techniques allowed the characterization of both organic and inorganic materials in the samples layer by layer as well as to establish the painting techniques used by Sert in the works-of-art under study.     

Analysis of the Chemical Composition of Red Pigments and Inks for the Characterization and Differentiation of Contemporary Prints

Prints are one of the most popular artistic forms. They consist of an original matrix that is printed on a paper support. The stamps are part of a series, and each series is composed of a particular number of prints. Many contemporary prints are made using oil inks and synthetic pigments (reds and yellows). Inks are mainly composed of pigments (organic or inorganic) and a binding medium. The analysis of inks has the potential to facilitate and complement the identification of stamps of different origins.

Fourier transform infrared spectroscopy (FTIR) and Scanning Electron Microscopy-Energy Dispersive X-ray (SEM-EDX) are techniques that are typically available in museums and centers related to the study of works of art. Both can be classified as micro-destructive and provide complementary information about the organic and some inorganic compounds (FTIR), and the elemental composition (SEM-EDX). In this article, the two techniques were used to analyze the composition of red ink in prints. As a result of these analyses, it was possible to distinguish among nearly all of the pigments and inks, indicating that the composition of the red ink can be reliably used to differentiate between stamps of different origins in a series of prints.     

The biodeterioration of synthetic resins used in conservation

Synthetic resins have been extensively employed by artists in their works of art, e.g. as paint binders, or by conservators for conservation treatments, e.g. as stone consolidants and protectives. It is generally thought that synthetic resins are less prone to chemical, physical and biological deterioration than other organic products but there are many articles in the scientific literature and some reports in the conservation of cultural heritage literature claiming that microorganisms are capable of degrading synthetic resins. This paper reviews the researches on the biodeterioration of synthetic resins used in the conservation of cultural heritage, including stone, painting and textile materials, carried out in the last fifty years.     

Detection of Organic Colorants in Historical Painting Layers Using UV Laser Ablation Surface‐Enhanced Raman Microspectroscopy

Surface‐enhanced Raman spectroscopy (SERS) has been increasingly used in the study of works of art to identify organic pigments and dyes in paintings, which (depending on the material) are difficult or not possible to detect by other current methods. The application of SERS to the study of paintings has been limited, however, by the lack of a sampling approach with sufficient sensitivity and spatial resolution. We show that ultraviolet laser ablation (LA) sampling coupled with SERS detection can be successfully used to study paint layers. LA‐SERS permitted the isolation of signals from colorants in individual thin paint layers in sample cross‐sections, avoiding contamination from adjacent layers. These results expand the range of analytical applications of SERS demonstrating how the technique can be used to sensitively detect minor organic components in complex matrices. While this is fundamental for the study of cultural heritage, it is also relevant in other fields such as forensic analysis, food science, and pharmacology.     

FTIR imaging investigation in MIR and in an enlarged MIR-NIR spectral range

The study of polished cross sections is a well-assessed and practical method to investigate the stratigraphy of paintings and multilayer polychromies on works of art, in general. Analyses on cross sections allow us to characterize, at once, all the layers in the stratigraphy, giving information about the artists technique, the number of layers and their composition and sometimes about the conservation history of the artefact. In this paper, the application of an imaging detector focal plane array (FPA) coupled to an infrared (IR) microscope has been studied, focusing on the characteristics and potential of the different working methodologies (attenuated total reflectance (ATR) and total reflection). FPA detector coupled with ATR crystal can “localize” IR information coming from a 30 × 30μm sample area, in a 64 × 64 dot matrix detector. In particular, an innovative analysis methodology has been tested for the total reflectance measurements in order to obtain maximum information with single measurements. Micro-infrared total reflection measurements have been carried out in an extended IR range (from 1,000 to 5,266 cm⁻¹) exploiting the broad spectral response of mercury cadmium telluride detector in order to include overtones and combination bands from near-infrared spectral range without any modification of the standard mid-infrared micro-FT instrumentation. The potentialities of this new approach have been successfully transferred in the imaging/mapping investigations with a minimal tuning of the apparatus. Results obtained on a polished cross section coming from a modern painting and on a micro-sample of a wood polychromy from an undated historic polyptic are shown for demonstration.     

Characterization of genuine and fake artesunate anti-malarial tablets using Fourier transform infrared imaging and spatially offset Raman spectroscopy through blister packs

In support of the efforts to combat the illegal sale and distribution of counterfeit anti-malarial drugs, we evaluated a new analytical approach for the characterization and fast screening of fake and genuine artesunate tablets using a combination of Raman spectroscopy, Spatially Offset Raman Spectroscopy (SORS) and Attenuated Total Reflection-Fourier Transform Infrared (ATR-FTIR) imaging. Vibrational spectroscopy provided chemically specific information on the composition of the tablets; the complementary nature of Raman scattering and FTIR imaging allowed the characterization of both the overall and surface composition of the tablets. The depth-resolving power of the SORS approach provided chemically specific information on the overall composition of the tablets, non-invasively, through a variety of packaging types. Spatial imaging of the tablet surface (using ATR-FTIR) identified the location of domains of excipients and active ingredients with high sensitivity and enhanced spatial resolution. The advantages provided by a combination of SORS and ATR-FTIR imaging in this context confirm its potential for inclusion in the analytical protocol for forensic investigation of counterfeit medicines.     

Earth pigments in painting: characterisation and differentiation by means of FTIR spectroscopy and SEM-EDS microanalysis

Analytical characterisation of natural earths (ochres, siennas, umbers and green earths) has been carried out using Fourier transform infrared spectroscopy (FTIR) and scanning electron microscopy (SEM) coupled to an energy dispersive X-Ray spectrometer (EDS). The study of these pigments, which are found in works of art, is very important since it can shed light on their source or the pictorial technique used. FTIR spectroscopy is suitable for the identification and differentiation of ochres and siennas. According to the matrix of the sample, FTIR allows the classification of ochres into ochres containing kaolinite and ochres containing sulphate. One of the goals of this research has been to establish a relationship between the matrix and the source of the samples tested. SEM-EDS is probably a better technique than FTIR for characterising umbers and green earths since they do not exhibit significant differences when FTIR studies are performed.     

Analytical characterization of polymers used in conservation and restoration by ATR-FTIR spectroscopy

In the last few decades many new polymers have been synthesized that are now being used in cultural heritage conservation. The physical and chemical properties and the long-term behaviors of these new polymers are determined by the chemical composition of the starting materials used in their synthesis along with the nature of the substances added to facilitate their production. The practical applications of these polymers depend on their composition and form (foam, film, sheets, pressure-sensitive adhesives, heat-seal adhesives, etc.). Some materials are used in restoration works and others for the exhibition, storage and transport of works of art. In all cases, it is absolutely necessary to know their compositions. Furthermore, many different materials that are manufactured for other objectives are also used for conservation and restoration. The technical information about the materials provided by the manufacturer is usually incomplete, so it is necessary to analytically characterize such materials. FTIR spectrometry is widely used for polymer identification, and, more recently, ATR–FTIR has been shown to give excellent results. This paper reports the ATR-FTIR analysis of samples of polymeric materials used in the conservation of artworks. These samples were examined directly in the solid material without sample preparation.     

Three-dimensional micro-XRF investigations of paint layers with a tabletop setup

The non-destructive investigation of art and archaeological objects with depth sensitivity is now possible using 3D micro-XRF spectroscopy. More detailed answers for questions on painting techniques, on the pigment palette, on the production processes and indirectly on dating or provenancing of objects are accessible now. This was already illustrated by the investigation of Mughal miniatures with a confocal setup at the synchrotron source BESSY.In this paper we demonstrate the feasibility of 3D micro-XRF spectroscopy with a tabletop setup and discuss its sensitivity in comparison to the synchrotron-based setup. Investigated objects are glass standards and also prepared paint layers. Perspectives for other types of studies are proposed.     

Investigation of biodeteriorated historical textiles by conventional and synchrotron radiation FTIR spectroscopy

We have examined specimens of historical biodeteriorated cellulose textiles using synchrotron radiation and conventional source FTIR spectroscopy. The main aim of our research was to investigate structural changes caused by ageing and biodeterioration in different types of cellulose fibres. We compared the results, obtained with both methods regarding spectral quality and information obtained with each method. Additionally, we obtained mapping images of the cross sections of the investigated specimens using synchrotron FTIR in order to analyze structural changes in cross sections, caused due to biodeterioration.     

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.     

Analysis of organic colouring and binding components in colour layer of art works

Two methods of analysis of organic components of colour layers of art works have been tested: IR microspectroscopy of indigo, Cu-phthalocyanine, and Prussian blue, and MALDI-TOF-MS of proteinaceous binders and a protein-containing red dye. The IR spectra distortion common for smooth outer surfaces and polished cross sections of colour layer of art works is suppressed by reflectance measurement of microtome slices. The detection limit of the three blue pigments examined is ~0.3 wt% in reference colour layers in linseed oil binder with calcite as extender and lead white as a drying agent. The sensitivity has been sufficient to identify Prussian blue in repaints on a Gothic painting. MALDI-TOF-MS has been used to identify proteinaceous binders in two historical paintings, namely isinglass (fish glue) and rabbit glue. MALDI-TOF-MS has also been proposed for identification of an insect red dye, cochineal carmine, according to its specific protein component. The enzymatic cleavage with trypsin before MALDI-TOF-MS seems to be a very gentle and specific way of dissolution of the colour layers highly polymerised due to very long aging of old, e.g. medieval, samples.     

Characterisation of the transparent surface coatings on post-Byzantine icons using microscopic, mass spectrometric and spectroscopic techniques

Icons are frequently covered with superimposed transparent layers of varnish and glaze that often obscure their image and disrupt their study and conservation treatment. Using a combination of microscopic, mass spectrometric and spectroscopic techniques, a micro-analytical methodology was developed for the characterisation of these surface coatings. More specifically, light microscopy (LM), electron ionisation direct temperature resolved mass spectrometry (EI-DTMS), pyrolysis gas chromatography mass spectrometry (Py-GC/MS), imaging Fourier transform infrared spectroscopy (imaging-FTIR) and scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDX) were used to investigate the coatings present on the surface of five Greek post-Byzantine icons. The results showed that the aged layers of varnish and glaze contain various mixtures of materials, including diterpenoid (DTP) and triterpenoid (TTP) resins, linseed oil, lead-containing dryers, egg, and beeswax. This study also elucidated issues regarding the initial application and the later interventions on those coatings, their interaction with each other, as well as some effects observed on the underlying paint layers.     

Identification of protein binders in works of art by high-performance liquid chromatography–diode array detector analysis of their tryptic digests

Proteins in works of art are generally determined by the relative amounts of amino acids. This method, however, implies a loss of information on the protein structure and its modifications. Consequently, we propose a method based on the analysis of trypsin digests using high-performance liquid chromatography (HPLC) UV diode array detection (DAD) for painting binder studies. All reaction steps are done in the same vial; no extraction methods or sample transfer is needed, reducing the risk of sample losses. A collection of pure binders (collagen, ovalbumin, yolk and casein) as well as homemade and historical paint samples have been investigated with this method. Chromatograms of unknowns at 214 nm and 280 nm are compared with those of the reference samples as a fingerprint. There is a good agreement between many peptides, but others seem to have been lost or their retention time shifted due to small compositional changes because of ageing and degradation of the paint. The results are comparable with the results of other techniques used for binder identification on the same samples, with the additional advantage of differentiation between egg yolk and glair.     

Single and multiplexed immunoassays for the chemiluminescent imaging detection of animal glues in historical paint cross-sections

The characterization of the organic components in a complex, multilayered paint structure is fundamental for studying painting techniques and for authentication and restoration purposes. Proteinaceous materials, such as animal glue, are of particular importance since they are widely used as binders, adhesives and for gilding. Even though proteins are usually detected by chromatographic and proteomic techniques, immunological methods represent an alternative powerful approach to protein analysis thanks to the high specificity of antigen–antibody reactions. Our previous studies demonstrated that ovalbumin and casein could be localized in paint cross-sections with high sensitivity and good spatial resolution (i.e. within the single painting layers) by using chemiluminescent (CL) immunochemical microscope imaging. In the present research work, we describe for the first time the immunolocalization of collagen (the main protein of animal glue) in paint cross-sections by CL imaging microscopy. Two different analytical protocols have been developed, allowing either the detection of collagen or the simultaneous detection of collagen and ovalbumin in the same paint sample. The assays were used to detect collagen and ovalbumin in cross-sections from model samples and historical paintings (a wall painting dated to 1773–1774 and a painted wood panel of the Renaissance period) in order to achieve information on paint techniques and past restoration interventions.