Identification by GC-FID and GC-MS of amino acids, fatty and bile acids in binding media used in works of art

GC-FID was used as single methodology for the identification and differentiation of proteins, lipids and ox bile from binders used in artistic paintings. The samples were hydrolyzed by HCl. Subsequently, the simultaneous formation of volatile derivatives of the amino, fatty and bile acids with ethyl chloroformate was performed quickly and safely in an aqueous medium. The derivatives were separated by capillary GC and characterized by GC-MS. The ageing of drying oils was studied, identifying pelargonic acid among other degradation products. Proteinaceous and lipoid binding media were characterized by means of the quotients between the areas of the peaks for each amino or fatty acid with respect to the area of the peak for alanine or palmitic acid. Fatty acids from ox bile were easily identified by their retention times characteristic for eicosanoic, docosanoic and pentadecanoic acids. The suggested method was applied to the analysis of binders in baroque paintings by Palomino in Valencia (Spain). Animal gelatine and linseed oil were found.     

Identification by GC-FID and GC-MS of amino acids, fatty and bile acids in binding media used in works of art

GC-FID was used as single methodology for the identification and differentiation of proteins, lipids and ox bile from binders used in artistic paintings. The samples were hydrolyzed by HCl. Subsequently, the simultaneous formation of volatile derivatives of the amino, fatty and bile acids with ethyl chloroformate was performed quickly and safely in an aqueous medium. The derivatives were separated by capillary GC and characterized by GC-MS. The ageing of drying oils was studied, identifying pelargonic acid among other degradation products. Proteinaceous and lipoid binding media were characterized by means of the quotients between the areas of the peaks for each amino or fatty acid with respect to the area of the peak for alanine or palmitic acid. Fatty acids from ox bile were easily identified by their retention times characteristic for eicosanoic, docosanoic and pentadecanoic acids. The suggested method was applied to the analysis of binders in baroque paintings by Palomino in Valencia (Spain). Animal gelatine and linseed oil were found. Received: 27 September 2000 / Revised: 16 January 2001 / Accepted: 17 January 2001     

Identification of lipid binders in paintings by gas chromatography. Influence of the pigments

The influence of the presence and the type of pigments in the lipid binding media of paintings were studied by gas chromatography with flame ionization detector. The drying oils were linseed stand oil, poppy oil and sunflower oil, and the pigments studied were cadmium red, cobalt blue, tin white, lead white, chalk and plaster of Paris, commonly used in paintings. The results indicate that the stearic/palmitic ratio and the presence of pigments are quite stable during ageing. However, some differences in the oleic acid/palmitic acid ratio were found, depending on the type of pigment present in the lipid binding media. These variations are related to the drying effect of the pigments. The proposed method has been applied to the identification of drying oils in two samples from baroque paintings in the "Basilica de la Virgen de los Desamparados" of Valencia, Spain.     

Infusion mass spectrometry as a fingerprint to characterize varnishes in oil pictorial artworks

Mass spectrometry methodology to characterize drying oil used as binding media and varnishes in pictorial artworks, prior to conservation or restoration treatment, is proposed. The analytical treatment requires prior basic hydrolysis of the samples to release the fatty acids: caprylic, pelargonic, capric, sebacic, azelaic, suberic, eicosanoic, lauric, mirystic, palmitic, linolenic, linoleic, oleic and stearic, followed by separation from the matrix by a hexane/water extraction. After removing the solvent, the remaining solid is dissolved in potassium hydroxide, propanol and methanol. The mixture is directly infused into a mass spectrometer without any previous derivatization or separation steps. The detector is operated in electrospray negative ion mode and the [M-H](-) ions of the fatty acids enable identification of the acids. Obtained data for fatty acid ion abundances are analyzed by linear discriminant analysis. The drying oils studied (linseed, poppy seed and walnut) were satisfactorily distinguished. The analytical method shows adequate sensitivity, reproducibility, speed and ease. The proposed methodology has been successfully applied to samples from artistic samples belonging to the Cultural Heritage of Valencia (Spain).     

Curie-point pyrolysis gas chromatography/mass spectrometry in the identification of paint media

Curie-point pyrolysis gas chromatography/mass spectrometry has been applied to different model paint samples containing proteinaceous (egg yolk) and oily (linseed oil) media. Results of pyrolysis at 610°C are highly reproducible, and among the different pyrolysis products some compounds diagnostic for the different binders have been identified. The application of the method to real samples, i.e. from the oil painting ‘Ritratto’ by Giuseppe Nogari (1669–1763) and from the tempera paint on the ligneous roof of S. Giobbe church (16th century) in Venice, proves its effectiveness in the identification of binding media.     

The contribution of gas chromatography to the resynthesis of the post-Byzantine artist’s technique

Gas chromatographic analysis of ethyl chloroformate derivatives of samples taken from the paint layers of post-Byzantine panel paintings permitted the successful characterisation of the different binding media used in them. This paper describes an analytical study of various post-Byzantine binding media such as egg yolk and egg/oil emulsion, using gas chromatography. The characterisation of these icons’ binding media is an important task, as it contributes to our understanding of and the reconstruction of the post-Byzantine artists’ palette. It also enables us to investigate the validity of our assumptions about the influences of Venetian style on Greek icon painting techniques from the sixteenth to the early nineteenth century, which up to now have been based on information in artists’ handbooks. The methodology involves two experimental steps: (1) hydrolysis of the proteins and triglycerides in the binding media to obtain free amino acids and fatty acids, and (2) the formation of ethyl chloroformate derivatives via derivatization with ethyl chloroformate (ECF). This methodology is of considerable interest, since it permits the identifcation of the nature of the proteinaceous binders used in these works through the simultaneous derivatization and determination of amino acids and fatty acids. Advantages of this methodology include the small quantity of sample required and the minimum preparation time involved. The proteinaceous media can be determined based on the ratios of seven stable amino acids, while the type of emulsions and drying oils used can be determined from the fatty acid ratio. Electronic supplementary material Supplementary material is available in the online version of this article at and is accessible for authorized users.     

The ageing of model pigment/linseed oil systems studied by means of vibrational spectroscopies and chemometrics

We used Fourier Transform - Near Infrared (FT-NIR) and micro-Raman spectroscopies to follow the changes occurring in a thin layer of linseed oil in the presence of lead white (basic lead carbonate) and zinc white (zinc oxide), which were due to the natural ageing process.The curing of linseed oil is a very complicated process, owing to different mechanisms that occur simultaneously, ones which may be further modified by the presence of pigments and by environmental conditions (e.g. light, humidity, temperature). Both lead white and zinc white pigments affect this process, leading to the formation of films with different properties. Previous studies have already characterised the ageing of binders alone, including linseed oil. We investigated, by means of a combined analysis of the results of two different vibrational spectroscopy methods, the role of these two white pigments on the ageing of a linseed oil film. Model samples were prepared, and we followed their evolution over a 24-month period. Two ten-year-old oil mock-ups, which were prepared by using lead and zinc white pigments (comparable to contemporary oil painting), were analysed within the framework of the present results.Lastly, we exploited the potentiality of Principal Component Analysis (PCA) on the combined FT-NIR and Raman spectra in order to define a possible ageing trend for two oil-white mixtures. Furthermore, we tested the statistical models by comparison with spectra related to the two ten-year-old mock-ups.     

The Preparation and Characterization of Conjugated Linolenic Acid

Conjugated Linolenic Acid (CLN) has recently been shown to have a more strong cytotoxic effect on various human tumor cell lines than CLA. In CLN, all the three double bonds are conjugated, whereas they are methylene-interrupted in LN. Some seed oil, such as tung oil and pomegranate seed oil, principally consist of CLN, accounting for 76.5% and 75.5%, respectively.CLN can be characterized using the combination of gas chromatography (GC), highperformance liquid chromatography (HPLC) and UV /VIS spectrophotomea-ic analysis. GC can separate the CLN from other fatty acids and HPLC can separate the individual CLN isomers.The conjugated triene formation has a maximum absorbency at 268 nm and the conjugated diene formation has an absorbency at 235 nm in UV spectrum.CLN was prepared from linseed oil by isomerization reaction in our present study. By treating at was isomerized and the product was purified by recrystallizing in the methanol. The GC and UV /VIS spectrophotometric analysis were used to characterize the obtained products. It was found that the a-LN in the linseed oil was converted to the corresponding conjugated diene acids and CLN. The GC analysis also showed that there formed about 20% CLN when reacting for 10h with 40% KOH/ethylene glycol.     

The state of conservation of painted surfaces in the presence of accelerated ageing processes monitored by use of FT-Raman spectroscopy and multivariate control charts

A new method has been developed for monitoring the degradation of paintings. Two inorganic pigments (ultramarine blue and red ochre) were blended with linseed oil and spread on canvas. Each canvas was subjected to simulated accelerated ageing in the presence of typical degradation agents (UV radiation and acidic solution). Periodically the painted surfaces were analysed by FT-Raman, to investigate the status of the surface. The data obtained were analysed by principal component analysis (PCA). Finally the Shewhart and cumulative sum control charts based on the relevant principal components (PC) and the so called scores monitoring and residuals tracking (SMART) charts were built. The method based on the use of PC to describe the process was found to enable identification of the presence of relevant modification occurring on the surface of the samples studied.Electronic supplementary material Supplementary material is available for this article at     

Enhancement of the static SIMS secondary ion yields of lipid moieties by ultrathin gold coating of aged oil paint surfaces

Static secondary ion mass spectrometry (SIMS) is a powerful technique for identification and localization of pigments and binding media present in traditional paintings. Coating the surface of a cross‐section with a 20 Å thick gold layer improves the yields of secondary ions from the fatty acids and diacids. A chalk tablet containing 1% stearic acid, which was partially covered during gold deposition, is used as a test system to investigate the increase of the organic secondary ion yields upon gold deposition in SIMS imaging. A comparative study of a native and gold‐coated aged surface of a lead white‐containing linseed oil paint demonstrates the enhancement of the organic ion yields on a sample relevant for painting studies. The yields of oil paint‐derived negative ions increase by a factor of 3 whereas the yields of positive ions increase by a factor of 2–4. The different types of charged functional groups determine the degree of improvement in yield. Gold coating improves the ionization process of the fatty acids and does not influence their fragmentation. The dissociation of the lead white by the primary ion beam is reduced due to the gold coating. Copyright © 2004 John Wiley & Sons, Ltd.     

A multi-analytical approach to studying binding media in oil paintings

This article presents a multi-analytical approach to investigating the drying, polymerisation and oxidative degradation of linseed oil, which had undergone various treatments known to be undertaken during the nineteenth century in preparation for painting. The oil was mechanically extracted from the same seed lot then processed by different methods: water washing, heat treatments, and the addition of driers, with and without heat. The oil was prepared in 1999 within the framework of the MOLART project. We compared thermogravimetric analysis (TG), which yields macromolecular information, with gas-chromatography mass-spectrometry (GC/MS) and direct exposure mass spectrometry (DE-MS), which provide molecular information. This comparison enabled us to elucidate the role of pre-treatment on the composition of the oil. TG and oxygen uptake curves registered at a constant temperature helped us to identify the different physical behaviour of the oil samples, thus highlighting the presence of hydrolysed, oxidised and crosslinked fractions, as a consequence of the different pre-treatments. GC/MS was used to characterise the soluble and non-polymeric fraction of the oil, to calculate the ratios of palmitic to stearic acid (P/S), and azelaic to palmitic acid (A/P), and to further evaluate the effects of oil pre-treatments. DE-MS using chemical ionisation with CH₄, enabled us to establish the chemical composition of the oil in different stages of ageing. DE-MS proved to be a useful tool for a simultaneous semi-quantitative characterisation of the free fatty acids, monoglycerids, diglycerides and triglycerides present in each sample. The combination of thermal analysis with GC/MS and DE-MS enabled a model to be developed, which unravelled how oil pre-treatments produce binders with different physical–chemical qualities.     

Application of gas chromatography-mass spectrometry analysis to the study of works of art: paint media identification in polychrome multi-material sculptures

A new gas chromatographic-mass spectrometric procedure for characterizing both drying oils and proteinaceous binders in samples of painted artworks has been developed. Furthermore, a new analytical procedure for analysis of polysaccharide materials through identification of the monosaccharide constituents is proposed. The methods have been applied to characterizing binding media of the different layers of the polychrome surface in the multi-material sculptures from the sanctuary of Santa Maria delle Grazie in Mantova, Italy. It was found that animal glue was the main binder in the priming layer of all statues, whereas more complex mixtures were used in the paint layers. Generally, a drying oil was present, most often linseed oil alone or in combination with other organic binders.     

Preliminary study of UV ageing process of proteinaceous paint binder by FT-IR and principal component analysis

This work presents a preliminary study on the ageing process of proteinaceous binder materials used in painting under UV light. With this aim, two sets of model samples were prepared: samples prepared using a single protein material and complex samples prepared in a similar way to the sequence of layers in a real painting from lowest to highest complexity (protein, drying oils, pigment and varnish). The study focuses on acquiring information about the possible degradation process of proteinaceous binders due to ageing and how this process be affected by the presence of characteristic non-proteinaceous painting materials, such as lipids from linseed oil, terpenic compounds from varnish and inorganic pigments. Samples simulated the accelerated ageing process, as did the UV light exposition. The FT-IR spectra were recorded after 100, 500, 1000 and 1500 h of exposition. The study of the accelerated ageing process was performed by means of principal component analysis (PCA) using the FT-IR spectra obtained. Loadings from the significant principal components were analysed to find the FT-IR frequency (cm⁻¹) involved in the degradation process. The study showed the lack of any relevant modification on the proteins in the single model samples. On the contrary, the complex model samples showed the ageing process. The accelerated ageing process can be explained by a principal component from PCA. The most affected IR region was 2900-3600 cm⁻¹, where the amide band was included.     

Analysis of drying oils used as binding media for objects of art by capillary electrophoresis with indirect UV and conductivity detection

Capillary electrophoresis (CE) was applied to analyse the long-chain fatty acid composition of vegetable oils, and their degradation products formed upon ageing when drying oils are used as binding media. The analytes were detected with contactless conductivity detection (CCD) and indirect UV absorption, both detectors positioned on-line at the separation capillary. The long-chain fatty acids were resolved in a background electrolyte (BGE) consisting of phosphate buffer (pH = 6.86, 15 mM) containing 4 mM sodium dodecylbenzensulfonate, 10 mM Brij 35, 2% (v/v) 1-octanol and 45% (v/v) acetonitrile. As in this system dicarboxylic analytes, the products of oxidative degradation of unsaturated fatty acids, cannot be determined, a suitable background electrolyte was developed by the aid of computer simulation program PeakMaster. It makes use of a 10 mM salicylic acid, 20 mM histidine buffer, pH 5.85, which combines buffering ability with the optical properties obligatory for indirect UV detection. This buffer avoids system eigenpeaks, which are often impairing the separation efficiency of the system. Separation of the dicarboxylic analytes was further improved by a counter-directed electroosmotic flow (EOF), obtained by dynamically coating the capillary wall with 0.2 mM cetyltrimethylammonium bromide. Long-chain fatty acids and their decomposition products could be determined in recent and aged samples of drying oils, respectively, and in samples taken from two paintings of the 19th century.     

ToF‐SIMS spectrometry to observe fatty acid profiles of breast tissues in broiler chicken subjected to varied vegetable oil diet

This study is aimed to observe changes in fatty acid profiles by time of flight secondary ion mass spectrometry (ToF‐SIMS) in breast muscle tissues of broilers. Four different groups were identified. The source of fat in group I was soy oil (rich in linoleic acid, ω‐6), group II received linseed oil (ω‐3), and the third group was fed a mixture of the two mentioned oils. Broilers in the control group were fed with beef tallow, used in mass commercial production. The results reveal that the use of vegetable oils in animal nutrition determines the lipid profile of fatty acids. ToF‐SIMS measurements showed that the lipid profile of muscle fibers and intramuscular fat reflect the composition of fats used as feed additives. In both structures, the ratio of ω‐6/ω‐3 fatty acids, which is most favorable for human health, was found in the groups in which a mixture of vegetable oils and a supplement of linseed oil were used.     

Gas Chromatographic Determination of Glycerides in Potato Crisps Fried in Different Oils

Summary Glycerides in eight commercial potato crisps were identified after conversion to fatty acids. The profiles were analysed and compared, with regard to 14 fatty acids, by use of a gas chromatographic method. Results showed that the fatty acid profile is quite variable among brands and depends on the type of oil used in the frying process. To provide a means of identifying the frying oil correctly, brands were classified into three groups depending on the main fatty acid present. After the first analysis samples were stored at room temperature in the dark and analysed again 1 and 3 months later.Presented at: International Symposium on Seperation and Characterization of Natural and Synthetic Macromolecules, Amsterdam, The Netherlands, February 5–7, 2003     

Characterization of Plukenetia volubilis L. fatty acid-based alkyd resins

Fatty acid-based alkyd resins prepared with different amounts of glycerol and pentaerythritol were characterized. Sacha inchi oil and linseed oil (comparative purposes) were used as fatty acids’ sources. FT-IR and ¹H NMR spectroscopy were done for alkyd structural verification. Alkyd resins were evaluated through physico-chemical (colour, density, viscosity) and thermal characterization. Film coating performance (drying, hardness, chemical resistance) was also studied. The oxidative crosslinking time tendency was corroborated by the quartz crystal microbalance (QCM) technique. Alkyd resins obtained with fatty acids from sacha inchi and linseed oils had similar properties. Results indicated that lighter resins can be obtained from sacha inchi oil, whereas pentaerythritol increases viscosity and thermal stability, and retards drying time of fatty-acid based alkyd resins.     

Characterization of medieval proteinaceous painting media using gas chromatography and gas chromatography — mass spectrometry

Proteinaceous organic materials used as ancient painting media were investigated by capillary gas chromatography (GC) and capillary gas chromatography — mass spectrometry (GC/MS). Medieval wall paintings made by the tempera technique were considered and their binding media were studied by the characterization of their main chemical components. The basic methodology is based on the determination of amino acids in samples of paint layers after hydrolysis and derivatization and on the comparison with reference proteinaceous materials. Multivariate chemometric techniques were used to facilitate the recognition of the protein source from chromatographic data. To characterize the binders further, a method was developed for the determination of fatty acids, present as minor components, by GC/MS. The use of fused-silica capillary columns coated with selected stationary phases allowed the separation of amino acid and fatty acid derivatives in a single analytical run.     

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

In this study, quantitative gas chromatography–mass spectrometry (GC–MS) analysis was used to evaluate the influence of pigment concentration on the drying of oil paints. Seven sets of artificially aged self-made paints with different pigments (yellow ochre, red ochre, natural cinnabar, zinc white, Prussian blue, chrome oxide green, hematite + kaolinite) and linseed oil mixtures were analysed. In the pigment + linseed oil mixtures, linseed oil concentration varied in the range of 10 to 95 g/100 g. The results demonstrate that the commonly used palmitic acid to stearic acid ratio (P/S) to distinguish between drying oils varied in a vast range (from especially low 0.6 to a common 1.6) even though the paints contained the same linseed oil. Therefore, the P/S ratio is an unreliable parameter, and other criteria should be included for confirmation. The pigment concentration had a substantial effect on the values used to characterise the degree of drying (azelaic acid to palmitic acid ratio (A/P) and the relative content of dicarboxylic acids (∑D)). The absolute quantification showed that almost all oil paint mock-ups were influenced by pigment concentration. Therefore, pigment concentration needs to be considered as another factor when characterising oil-based paint samples based on the lipid profile.