The use of Raman microscopy and laser desorption ionization mass spectrometry in the examination of synthetic organic pigments in modern works of art

Synthetic organic pigments are widely used in modern and contemporary works of art. They have been examined by a variety of techniques including spectroscopic methods such as Fourier transform infrared spectroscopy, Raman, and X‐ray powder diffraction as well as chromatographic or mass spectrometric techniques such as pyrolysis‐gas chromatography/mass spectrometry and laser desorption ionization mass spectrometry (LDI–MS). Often, a combination of techniques has been used to examine these pigments. This paper describes use of Raman spectroscopy to create a database of colorants including two pigments not previously reported, PO1 and PO2. Then, using Raman spectroscopy in combination with LDI–MS, samples from modern works of art by artists including Mark Rothko, Barnett Newman, and José de Rivera were examined in order to identify the pigments present. One finding was that Rothko used a variety of red pigments over the course of his career including PR11 which has not been previously reported in artwork, and PO2 found with its positional isomer PR1. Knowledge of the colorants serves to inform conservators about display and treatment decisions. Published 2014. This article is a U.S. Government work and is in the public domain in the USA.     

Pigment analysis of Portuguese portrait miniatures of 17th and 18th centuries by Raman Microscopy and SEM‐EDS

Seventeen Portuguese miniature portraits on copper support from the Évora Museum collection (Portugal) were analyzed in situ and nondestructively by Raman microscopy (RM), SEM‐EDS, and stereomicroscopy. This work constitutes a great breakthrough in the study of miniature paintings from the 17^th and 18^th centuries, since the chemical information known about this unique kind of paintings are still scarce, and in particular, this exclusive collection was never been subjected to any physicochemical study. In this work, each portrait was examined in detail in order to characterize the pigments palette used by the miniaturists. The μ‐Raman analysis, in particular, guaranteed an exceptional visualization and good individual identification of small grains of pigments and other constituents of the pictorial layer. Using this technique, 19 compounds were identified, including bluish black covellite, a pigment rarely found in oil paintings. SEM‐EDS was used as an important complementary technique to confirm the chemical nature of some pigments and to identify shell gold (gold dust) in some portraits. Overall, the pigments identified in this large set of old paintings are broadly consistent with those mentioned in the painting treatises of that time or reported in other more modern bibliographic sources. Copyright © 2014 John Wiley & Sons, Ltd.     

New insights into the colour origin of archaeological Egyptian blue and green by XAFS at the Cu K‐edge

New results on the local chemical environment of Cu²⁺ in archaeological Egyptian blue and green and also modern Egyptian green were obtained by x‐ray absorption fine structure (XAFS) analysis. The information is essential for the understanding of the colouring mechanisms in both pigments. In a previous study, a clear physico‐chemical characterisation of Egyptian blue and green was achieved using a complementary analytical approach with ancient and modern synthesized pigments. Electron microscopy (SEM–EDX and TEM), x‐ray diffraction and micro‐Raman and UV–visible spectroscopy were used to gain information about the conditions of the ancient Egyptian fabrication processes and permitted the clear distinction of both pigments. However, the exact colouring mechanisms could not be elucidated by these methods. Different Cu‐bearing amorphous and crystalline phases were found in both pigments. These phases should be at the origin of the blue and turquoise colours. Using XAFS data at the Cu K‐edge, new insights into the origin of the colouring mechanisms of both pigments could be obtained from the precision of the Cu speciation. In Egyptian blue, Cu²⁺ is mainly allocated in a square‐planar site in a crystalline cuprorivaite phase, whereas in Egyptian green, Cu²⁺ is basically situated in a distorted octahedral site in an amorphous phase. Copyright © 2006 John Wiley & Sons, Ltd.     

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.     

In situ chemical analysis of modern organic tattooing inks and pigments by micro‐Raman spectroscopy

The chemical composition of tattooing pigments has varied greatly over time according to available technologies and materials. Beginning with naturally derived plant and animal extracts, to coloured inorganic oxides and salts, through to the modern industrial organic pigments favoured in today's tattooing studios. The demand for tattooing is steadily growing as it gains cultural popularity and acceptance in today's society, but ironically, increasing numbers of individuals are seeking laser removal of their tattoos for a variety of reasons. Organic pigments are favoured for tattooing because of their high tinting strength, light fastness, enzymatic resistance, dispersion and relatively inexpensive production costs. Adverse reactions have been reported for some organic inks, as well as potential complications, during laser removal procedures stemming from the unintentional creation of toxic by‐products. Currently, regulatory bodies such as the US Food and Drug Administration have not approved any coloured inks to be injected into the skin, and tattoo ink manufacturers often do not disclose the ingredients in their products to maintain proprietary knowledge of their creations. A methodology was established using micro‐Raman spectroscopy on an animal model to correctly identify the constituents of a selection of modern, organic tattoo inks in situ or post procedure, within the skin. This may serve as a preliminary tool prior to engaging in Q‐switched laser removals to assess the risks of producing potentially hazardous compounds. Likewise, the pigments responsible for causing adverse reactions in some patients may be quickly identified to hasten any corresponding treatment. Copyright © 2008 John Wiley & Sons, Ltd.     

Micro‐Raman and stratigraphic studies of the paintings on the ‘Cembalo’ model musical instrument (A.D. 1650) and laser‐induced degradation of the detected pigments

Micro‐fragments of the painted part of the ‘Cembalo’ model by Michele Todini (1625–1689) are investigated. The technique used for painting the terracotta base was studied via the stratigraphic analyses. No background layer of inorganic materials, e.g. gypsum, was found. To prevent absorption effects due to the terracotta porosity, a very thin layer of proteinaceous material was probably used. The micro‐Raman analyses have revealed the use of pigments currently used in the post‐Renaissance period (lead white, indigo, yellow of iron hydroxide, gypsum, hematite and carbon black) mixed with a pigment, the Prussian blue, discovered in A.D . 1704. This raises the authenticity problem of the work of art, a problem analysed and discussed in presenting the history of the work of art, and after the pigment study. The presence of degraded lead white is recognized via the laser‐induced degradation of the irradiated material. The possibility of a restoring action of the painted parts, as opposite to the non‐originality of the work, is considered and discussed. Since most part of the investigated pigments shows laser‐induced effects, a careful study of this phenomenon is performed by using the modern counterparts of the ancient pigments. For different laser powers, the temperatures of the investigated zones have been obtained via the detailed balance principle and connected to the laser‐induced degradation effects. Copyright © 2007 John Wiley & Sons, Ltd.     

Joaquin Sorolla's pigment characterisation of the paintings ‘Vision of Spain’ by means of EDXRF portable system

In this work, portable energy dispersive X‐ray fluorescence (EDXRF) spectrometry was employed to the characterisation of the palette used by the Spanish artist Joaquín Sorolla (1863–1923) in the paintings ‘Vision of Spain’, a set of 14 oils on canvas painted by Sorolla between 1911 and 1919 by order of Mr Archer Huntington to decorate the library of the Hispanic Society of America (HSA) in New York. The analyses, sponsored by BANCAJA and provided by the HSA, were carried out in situ, prior to the cleaning and restoration process, while the paintings hanging on the walls of the library of the HSA. The results revealed that the paintings were made over different priming layers containing, respectively, lead white, zinc and barium compounds, lead white mixed with zinc white or lead white mixed with zinc and barium compounds. The EDXRF analyses of coloured zones identified up to 29 inorganic pigments and, in some cases, the probable use of organic pigments. Sorolla used traditional pigments as earth pigments, lead white, vermillion, etc., and modern pigments as cadmium yellow, zinc white, cobalt‐based blue, chromium‐based green, manganese‐based violet, etc. These results provide valuable information about the Sorolla's palette during the last stage of his life. Copyright © 2011 John Wiley & Sons, Ltd.     

物理人眼中的《千里江山图》--探索物理教学的跨学科融合

故宫博物院馆藏的北宋名画《千里江山图》通过央视《国家宝藏》栏目为普通观众所熟知.该画作被视为青绿山水画中的巨制杰构,虽历经近千年依然璀璨如初,秘密就在于其颜料全部由宝石矿物制成.本文根据物理化学原理将这些颜料的呈色机理一一揭示.这种跨界思考不仅能激发学生的学习兴趣,更能实现现代科技教育与传统文化的完美融合.     

邛崃石窟摩崖造像的彩绘颜料分析与研究

四川省邛崃市地处成都平原,是成都地区发现的摩崖造像规模最大,分布最集中的地区。由于潮湿、半露天的保存环境,造像遭到严重破坏,缺少相关的科学分析研究。本文选用邛崃地区内花置寺摩崖造像、临邛镇磐陀寺摩崖造像和大同乡石笋山摩崖造像三处共12件彩绘颜料样品,通过超景深显微观察、X射线荧光分析、X射线衍射和显微激光拉曼光谱综合分析,获取彩绘颜料信息。结果表明红色颜料为赤铁矿[Fe₂O₃]和铅丹[Pb₃O₄];绿色颜料为砷酸铜[Cu(AsO₃)(OH)·2H₂O]和过硫酸三铜钠钾[KNaCu₃O(SO₄)₃];白色颜料为石膏[CaSO₄];黄色颜料为黄赭石[Fe₂O₃];黑色颜料为铅丹[Pb₃O₄]的变化产物,蓝色颜料为青金石[Na₆Ca₂Al₆Si₆O₂₄(SO₄)₂]。值得注意的是绿色颜料的分析结果,其中检出的砷酸铜类物质在近年中国西南地区彩绘分析中较常见,结合文献调研判断其为近现代人工合成颜料巴黎绿的变化产物,进而推测此处有近现代重绘可能。另外,首次检出过硫酸三铜钠钾成分的绿色颜料,丰富了古代彩绘颜料的分析实例,判断可能是某种绿色含铜矿物的变化结果。四川地区环境湿润,一些不稳定的矿物颜料容易发生化学变化,有的产生变色,有的颜色变化不明显,但成分已产生新的物质。通过分析邛崃石窟彩绘颜料,获取四川地区摩崖造像所使用颜料的相关信息,为颜料复原提供科学依据,同时也有利于文物工作者展开针对性保护工作,为四川地区彩绘石窟的研究和保护提供参考。     

“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。     

基于光谱表示和独立成分分析的混合颜料成分分析方法

在混合颜料成分分析中,反射光谱法通过计算相似性来判断基本颜料种类,容易受多种基本颜料的影响,造成分析结果不准确。将光谱表示为信号,结合独立成分分析,提出一种基于光谱表示和独立成分分析的混合颜料成分分析方法。首先,采用光谱仪获取混合颜料光谱信息,并将其表示为离散信号的形式;然后,对信号进行独立成分分析,得到基本颜料的光谱信息;随后,通过计算基本颜料光谱与已知颜料光谱的相似性,确定基本颜料种类;最后,逆用Kubelka-Munk混色公式就可以得出基本颜料的比例。我们采用蒙赛尔色卡光谱制作模拟数据,分别进行正常/扰动情况下三种色卡光谱混合信息的成分分析试验,以及从8种色卡光谱中选择若干种混合后的成分分析实验。分离出的光谱形态与已知的原始颜料光谱形态极其相似,平均相似比为97.72%,最大相似比可以达到99.95%,得出的基本颜料比例与混合时的比例基本相同。实验结果表明本方法适用于混合颜料成分分析。     

Raman classification of glass beads excavated on Mapungubwe hill and K2, two archaeological sites in South Africa

About 200 coloured glass beads (red, yellow, green, blue, white, black, pink, plum) excavated on Mapungubwe hill and at K2, archaeological sites in the Limpopo valley South Africa, were studied with Raman scattering. This is also the most southern site in Africa where evidence for glass reworking has been found. The glass matrix of the beads was classified according to its Raman signature into three main subgroups and corroded glass could also be identified. At least seven different chromophores or pigments (lazurite, lead tin yellow type II, Ca/Pb arsenate, chromate, calcium antimonate, Fe–S ‘amber’ and a spinel) were identified. Many of the pigments were manufactured after the 13th century, confirming the presence of modern beads in the archaeological record. This calls for further research to find a way to reconcile the carbon dating of the hill, which currently gives the last occupation date on the hill as 1290 AD with the physical evidence of the modern beads excavated on the hill. The results are discussed in terms of the glass production origin of the beads (Europe, Mediterranean area, India, China). Copyright © 2011 John Wiley & Sons, Ltd.     

On the discovery of an unusual luminescent pigment in Van Gogh’s painting “Les bretonnes et le pardon de pont Aven”

Spectrally and lifetime-resolved UV-induced luminescence imaging have been applied to the in situ analysis of Vincent Van Gogh’s painting on paper “Les bretonnes et le pardon de pont Aven”. The in situ investigation revealed the presence of an unusual microsecond green emission from the white painted areas of the watercolour, and this long-lived emission has not been reported in modern paintings by other authors. In order to attribute and suggest an identification of the luminescent pigment, our analysis was integrated with further measurements on commercially available modern white pigments (zinc white, Lithopone white, Blanc Fixe, zinc sulphide, and copper-doped zinc sulphide) and with an in-depth study of the synthesis processes of zinc-based pigments available at the end of the 19th century. Analysis suggested an attribution of the unusual emission from the Van Gogh painting to a particular variety of zinc sulphide pigment, characterized by the presence of copper impurities which were unintentionally introduced in the crystal matrix during its production. The present study is the first application of lifetime imaging for the mapping of long-lived luminescence from the semi-conductor pigment.     

An example of the complementarity of laser‐induced breakdown spectroscopy and Raman microscopy for wall painting pigments analysis

Laser‐induced breakdown spectroscopy (LIBS) and Raman microscopy were used for the identification of pigments in wall painting. Raman spectroscopy, which provides the molecular ‘fingerprint’ of the compound, is nowadays widely used by the archaeometry community, especially for pigment analysis. LIBS, which provides the elementary composition of samples, is a rapid noncontact method, enabling layer‐by‐layer analysis through a precise laser ablation of the sample. This work deals with the behavior of pigments after a LIBS analysis, by trying to identify the compounds before and after the laser shot. Six commercial pigments prepared with the fresco technique were investigated: ultramarine blue, red lead, charcoal, a yellow and a red ochre, and a green earth. Raman spectra, acquired on the sample surface and in the crater induced by LIBS analysis, were compared. The results show that these pigments are well recognized after a LIBS measurement. The analysis of green earth illustrates that the combination of these two techniques gives complete information from a sample. Copyright © 2007 John Wiley & Sons, Ltd.     

北魏墓彩绘陶俑颜料的显微拉曼光谱分析

利用拉曼光谱对洛阳地区两座北魏墓出土陶俑的彩绘颜料进行了分析, 与标准颜料样品的拉曼光谱相比较, 识别出了陶俑所使用的红色、黑色、白色和蓝色颜料的显色成分。研究结果表明, 显微拉曼光谱分析技术非常适合对古墓葬彩绘陶俑进行成分分析。     

拉曼光谱法结合薄层层析分析红酵母色素

利用薄层层析色谱法分离红酵母色素,结果显示,红酵母细胞能合成至少三种色素,即β-胡萝卜素、红酵母红素、圆酵母红素;采集三种色素的拉曼光谱,光谱数据经过背景扣除、基线校正、三点平滑等方法预处理,统计不同色素的平均光谱,结果表明三种色素的CC拉曼位移不同,并且β-胡萝卜素的拉曼位移最多,红酵母红素和圆酵母红素的含量较多;定量分析色素特征峰高比值,各色素峰高比值差异不大,峰高比值能用作参数,为深入研究活体细胞内色素的相对含量提供参考。以上结果表明,拉曼光谱法结合薄层层析能够分析红酵母色素,可以提供红酵母色素的丰富信息,是研究色素的有效方法。     

Electrochemical,chemical and barrier action of zinc dust/anticorrosive pigments containing coatings

This work deals with the study of anticorrosive efficiency of coatings containing a combination of zinc dust and non-metallic pigments. Eight non-metallic anticorrosive pigments combined with zinc dust VM 4P16 were used. For each combination of pigments were prepared three or four types of epoxyester coatings with different pigment volume concentration. All coatings were pigmented to a degree of Q=65%. The effectiveness of these systems was rated according to the resistance of the coatings exposed to 5% salt spray in a salt-spray cabinet with NaCl solution and humidity condensation and to SO₂ atmosphere in a humidity cabinet. The obtained results were analyzed by subjective evaluation methods.     

1945年银行票据样品印刷颜料无损鉴定

利用超景深三维视频显微镜、激光显微共聚焦拉曼光谱仪、扫描电镜-能谱仪等,对一张1945年银行票据样品的印刷颜料进行测试分析,结果显示该票据印刷使用了颜料红146和颜料红53∶1等有机颜料,以及朱砂、碳黑、普鲁士蓝、副雄黄和χ构型雄黄等无机颜料,并推测棕黑色手写字迹由蓝黑墨水老化褪色形成。票据中各处色块多为单一呈色,有两处印章由朱砂与不同晶型的雄黄共同呈色,并且首次发现χ构型雄黄和副雄黄作为印刷颜料使用。研究表明,上述三项技术的联用可以成功地对纸质品上的有机及无机颜料进行无损鉴定,在纸质文物研究中具有广阔的应用前景。