The identification of synthetic organic pigments in modern paints and modern paintings using pyrolysis-gas chromatography-mass spectrometry

A collection of more than 70 synthetic organic pigments were analysed using pyrolysis-gas chromatography-mass spectrometry (Py-GC-MS). We report on the analysis of diketo-pyrrolo-pyrrole, isoindolinone and perylene pigments which are classes not previously reported as being analysed by this technique. We also report on a number of azo pigments (2-naphthol, naphthol AS, arylide, diarylide, benzimidazolone and disazo condensation pigments) and phthalocyanine pigments, the Py-GC-MS analysis of which has not been previously reported. The members of each class were found to fragment in a consistent way and the pyrolysis products are reported. The technique was successfully applied to the analysis of paints used by the artist Francis Bacon (1909-1992), to simultaneously identify synthetic organic pigments and synthetic binding media in two samples of paint taken from Bacon's studio and micro-samples taken from three of his paintings and one painting attributed to him.     

Surface-enhanced Raman spectroscopy analysis of house paint and wallpaper samples from an 18th century historic property

Conservation efforts for heritage buildings require a substantial knowledge of the chemical makeup of materials that were used throughout the lifetime of the property. In particular, conservators are often concerned with the identification of colorants used in both interior and exterior wall treatments (paint, wallpaper, etc.) in order to gain perspective into how the building may have appeared during a certain time period in its existence. Ideally, such an analysis requires a technique that provides molecular level information as to the identity of the colorant as well as other sample components (binders, fillers, etc.), which is useful for dating purposes. In addition, the technique should be easily applied to paint layer samples which can be extremely thin and fragile. Herein we report the surface-enhanced Raman spectroscopy (SERS) analysis of paint and wallpaper samples taken from exterior and interior surfaces of a historic building. Several pigments were identified in the samples, which ranged from early inorganic pigments (lead white, barium sulfate, calcium carbonate, anhydrous chromium(III) oxide) which have been used in house paints for centuries, to a more modern pigment (phthalocyanine blue), developed in the middle of the 20th century. This analysis highlights the usefulness of SERS in such a conservation effort, and demonstrates for the first time pigment identification in house paints and wallpaper using SERS, which has far-reaching implications not only in the field of conservation, but also in forensics, industrial process control, and environmental health and safety.     

A Comparative Study of Pigments from the Wall Paintings of Two Greek Byzantine Churches

The goal of this study was to characterize pigments used in the murals of two Byzantine churches, from Kastoria, northern Greece. The identification of the iconographer was also investigated by comparing the pigments applied in the wall paintings of the churches. Pigment microsamples of various colors were collected and analyzed by environmental scanning electron microscopy coupled with an energy dispersive system to characterize the elemental composition. Raman spectroscopy was employed to collect molecular spectra for characterization of mineralogical phases. Hematite, cinnabar, and minium were identified in red surfaces. Brown and yellow colors were assigned to mixtures of iron oxides, iron hydroxides, and calcite. Mixtures of iron, lead, and mercury compounds were used to produce different hues in the murals. Black tones were prepared primarily using charcoal and bone black. Grey colors were produced by a mixture of black carbon with calcite; blue hues, by a mixture of iron oxides, calcite, and black carbon. The minerals used were similar for both churches. However, the green color was prepared either by green earth or mixtures of iron oxides and calcite. A modern pigment, lithopone, was also determined, demonstrating restoration or overpainting and thus complicating possible correlations. Based on these preliminary results, the wall paintings could not be ascribed to a specific iconographer.     

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.     

Voltammetric methods applied to identification, speciation, and quantification of analytes from works of art: an overview

Voltammetry of microparticles, an electrochemical methodology based on the record of the voltammetric response of sparingly soluble solids mechanically transferred to the surface of inert electrodes in contact with suitable electrolytes, is able to provide significant analytical information in the fields of conservation and restoration of cultural goods. Using this methodology, identification, speciation, and relative and absolute quantification of analytes from works of art samples can be achieved. Applications to the analysis of organic and inorganic pigments in paints, fibbers, ceramic materials as well as alteration compounds in paintings and metallic artifacts are reviewed.     

Electrochemistry for conservation science

Voltammetry of microparticles, an electrochemical methodology based on the record of the voltammetric response of sparingly soluble solids mechanically transferred to the surface of inert electrodes in contact with suitable electrolytes, is able to provide significant analytical information in the fields of conservation and restoration of cultural goods. Using this methodology, identification, speciation, and relative and absolute quantification of analytes from works of art samples can be achieved. Applications to the analysis of organic and inorganic pigments in paints, fibbers, ceramic materials as well as alteration compounds in paintings and metallic artifacts are reviewed.     

Pigment identification in artwork using graphite furnace atomic absorption spectrometry

The use of a sampling technique is described for the identification of metals from inorganic pigments in paint. The sampling technique involves gently contacting a cotton swab with the painted surface to physically remove a minute quantity (∼1-2 μg) of pigment. The amount of material removed from the painted surface is invisible to the unaided eye and does not cause any visible effect to the painted surface. The cotton swab was then placed in a 1.5 ml polystyrene beaker containing HNO₃ to extract pigment metals prior to analysis using graphite furnace atomic absorption spectrometry (GFAAS). GFAAS is well suited for identifying pigment metals since it requires small samples and many pigments consist of main group elements (e.g. Al) as well as transition metals (e.g. Zn, Fe and Cd). Using Cd (cadmium red) as the test element, the reproducibility of sampling a paint surface with the cotton swab was approximately 13% in either a water or oil medium. To test the feasibility of cotton sampling for pigment identification, samples were obtained from paintings (watercolour and oil) of a local collection. Raman spectra provided complementary information to the GFAAS, which together are essential for positive identification of some pigments. For example, GFAAS indicated the presence of Cu, but the Raman spectra positively identified the modern copper pigment phthalocyanine green (Cu(C₃₂Cl₁₆N₈). Both Raman spectroscopy and GFAAS were useful for identifying ZnO as a white pigment.     

对辣椒色素某些性能的测试

对辣椒色素某些性能的测试陈连文（河北经贸大学轻工系石家庄０５００６１）刘敬兰（河北师范大学实验中心石家庄０５００１６）关键词分离辣椒色素测定红辣椒属茄科，辣椒属（ＣａｐｓｉｃｕｍｆｒｕｔｅｓｃｅｎｓＬ．），我国各地均有栽培，品种多，资源丰富。内服有开...     

Effect of pigment concentration on NMR relaxometry in acrylic paints

Acrylic emulsion paint is among the most common media employed by 20th century artists. Since early acrylic paintings have begun to require the attention of conservators, scientists are working to characterize the properties of these paints to facilitate conservation efforts. In this study, we report an investigation of the physical and chemical properties of acrylic emulsion paints using single-sided NMR in conjunction with gloss measurements and scanning electron microscopy-energy dispersive spectrometry. Combining the data from these techniques gives insight into pigment-base interactions and the acrylic curing process, showing that as pigment concentration is increased in paints, the amount of acrylic base adsorbed to pigment particles increases, resulting in films with differing relaxation times. This research both emphasizes and contextualizes the utility of NMR relaxometry in studying cultural heritage objects and prompts further study into the effects of pigment concentration on the curing and conservation of paint films.     

Pigment identification in paintings employing laser induced breakdown spectroscopy and Raman microscopy

Laser-induced breakdown spectroscopy (LIBS) was used in combination with Raman microscopy, for the identification of pigments in different types of painted works of art. More specifically, a 19th century post-Byzantine icon from Greece and two miniature paintings from France were examined and detailed spectral data are presented which lead to the identification of the pigments used. LIBS measurements yielded information on the presence of pigments or mixtures of pigments based on the characteristic emission from specific elements. Identification of most pigments was performed by Raman microscopy. As demonstrated in this work, the combined use of LIBS and Raman microscopy, two complementary techniques, leads to a detailed characterization of the paintings examined with respect to the pigments used.     

Diketopyrrolopyrrole-based functional supramolecular polymers: next-generation materials for optoelectronic applications

The very concept of dye and pigment chemistry that was long known to the industrial world underwent a radical revision after the discovery and commercialization of dyes such as mauveine, indigo, and so on. Apart from their conventional role as coloring agents, organic dyes, and pigments have been identified as indispensable sources for high-end technological applications including optical and electronic devices. Simultaneous with the advancement in the supramolecular chemistry of π-conjugated systems and the divergent evolution of organic semiconductor materials, several dyes, and pigments have emerged as potential candidates for contemporary optoelectronic devices. Of all the major pigments, diketopyrrolopyrrole (DPP) better known as the ‘Ferrari Pigment’ and its derivatives have emerged as a major class of organic functional dyes that find varied applications in fields such as industrial pigments, organic solar cells, organic field–effect transistors, and in bioimaging. Since its discovery in 1974 by Farnum and Mehta, DPP-derived dyes gained rapid attention because of its attractive color, synthetic feasibility, ease of functionalization, and tunable optical and electronic properties. The advancement in supramolecular polymerization of DPP-based small molecules and oligomers with directed morphological and electronic features have led to the development of high performing optoelectronic devices. In this review, we highlight the recent developments in the optoelectronic applications of DPP derivatives specifically engineered to form supramolecular polymers.     

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.     

ATR-FT-IR spectroscopy in the region of 550–230 cm−1 for identification of inorganic pigments

A comprehensive study of ATR-FT-IR spectra of 40 inorganic pigments of different colours widely used in historical paintings has been carried out in the low wave number spectral range (550–230 cm^?1). The infrared spectra were recorded from mixtures of pigment and linseed oil. It is demonstrated that this spectral range – essentially devoid of absorption peaks of the common binder materials – can be well used for identification of inorganic pigments in paint samples thereby markedly extending the possibilities of pigment identification/confirmation by ATR-IR spectroscopy into the realm of pigments having no absorptions in the mid-IR region. In some cases the method can be used alone for pigment identification and in many cases it provides useful additional evidence for pigment identification using other instrumental techniques (electron microprobe analysis, XRF, optical microscopy). Together with earlier work this study provides a comprehensive overview of the pigment identification possibilities using ATR-FT-IR as well as a collection of reference spectra and is expected to be a useful reference for conservation practitioners.     

A comparison of EDI with solvent-free MALDI and LDI for the analysis of organic pigments

To evaluate the applicability of EDI to material analysis as a new ionization method, a comparison of EDI with solvent-free matrix-assisted laser desorption ionization (MALDI) and laser desorption ionization (LDI) was made for the analysis of organic pigments, e.g. Pigment Yellow 93, Pigment Yellow 180, and Pigment Green 36, as test samples, which are poorly soluble in standard solvents. In EDI, the samples were prepared in two ways: deposition of suspended samples in appropriate solvents and dried on the substrate, and the direct deposition of the powder samples on the substrate. No matrices were used. Both sample preparation methods gave similar mass spectra. Equally strong signals of [M + H](+) and [M - H](-) ions were observed with some fragment ions for azo pigments in the respective positive or negative mode of operation. For the powder sample of the phthalocyanine pigment PG36, M(+*) and [M + H](+) in the positive mode and M(-*) in the negative mode of operation were observed as major ions. Positive-mode, solvent-free MALDI gave M(+), [M + H](+) and [M + Na](+) and negative mode gave [M - H](-) depending on the sample preparation. As solvent-free MALDI, EDI was also found to be an easy-to-operate, versatile method for the samples as received.     

Crystal engineering on industrial diaryl pigments using lattice energy minimizations and X-ray powder diffraction

Diaryl azo pigments play an important role as yellow pigments for printing inks, with an annual pigment production of more than 50,000 t. The crystal structures of Pigment Yellow 12 (PY12), Pigment Yellow 13 (PY13), Pigment Yellow 14 (PY14), and Pigment Yellow 83 (PY83) were determined from X-ray powder data using lattice energy minimizations and subsequent Rietveld refinements. Details of the lattice energy minimization procedure and of the development of a torsion potential for the biphenyl fragment are given. The Rietveld refinements were carried out using rigid bodies, or constraints. It was also possible to refine all atomic positions individually without any constraint or restraint, even for PY12 having 44 independent non-hydrogen atoms per asymmetric unit. For PY14 (23 independent non-hydrogen atoms), additionally all atomic isotropic temperature factors could be refined individually. PY12 crystallized in a herringbone arrangement with twisted biaryl fragments. PY13 and PY14 formed a layer structure of planar molecules. PY83 showed a herringbone structure with planar molecules. According to quantum mechanical calculations, the twisting of the biaryl fragment results in a lower color strength of the pigments, whereas changes in the substitution pattern have almost no influence on the color strength of a single molecule. Hence, the experimentally observed lower color strength of PY12 in comparison with that of PY13 and PY83 can be explained as a pure packing effect. Further lattice energy calculations explained that the four investigated pigments crystallize in three different structures because these structures are the energetically most favorable ones for each compound. For example, for PY13, PY14, or PY83, a PY12-analogous crystal structure would lead to considerably poorer lattice energies and lower densities. In contrast, lattice energy calculations revealed that PY12 could adopt a PY13-type structure with only slightly poorer energy. This structure was found experimentally as a metastable gamma phase of PY12. Calculations on mixed crystals (solid solutions) showed that mixed crystals of PY12 and PY13 should adopt the PY13 structure with planar molecules, resulting in high color strengths; this was proven experimentally (Pigment Yellow 188). Similarly, the high color strength of mixed crystals consisting of PY13 and PY14 (Pigment Yellow 174), and PY13/PY83 (Pigment Yellow 176) is explained by the crystal structures.     

Solid state fluorescence of Pigment Yellow 101 and derivatives: a conserved property of the individual molecules

The optical properties of the bisazomethine pigments Pigment Yellow 101 (P.Y.101) and three derivatives are investigated employing density functional theory (DFT) and time-dependent DFT (TDDFT). P.Y.101 and one of its derivatives exhibit unusual solid state fluorescence, although both possess OH groups and the latter pigment has particularly small intermolecular distances in its crystal, which are both properties that contradict common empirical rules for fluorescent pigments. Here it is shown that the OH groups are indeed essential for molecular fluorescence of the pigments due to the necessary formation of an intramolecular hydrogen bond with the lone pairs of the bisazomethine nitrogens. Furthermore, the quenching mechanism of molecular fluorescence in the non-fluorescent derivatives is analyzed in detail and a CNN bending motion of the central bisazomethine substructure is identified to be the relevant reaction coordinate along which efficient fluorescence quenching occurs in the individual molecule as well as in the crystal. Electron transfer quenching, which usually is expected to be an important quenching mechanism in aggregated media (here the crystals), is ruled out for the studied bisazomethine pigments. The solid state fluorescence properties of the pigments can finally be understood as conserved molecular properties of the individual pigment molecules.     

Chemical Profiling,Bioactivity Evaluation and the Discovery of a Novel Biopigment Produced by Penicillium purpurogenum CBS 113139

Biobased pigments are environmentally friendly alternatives to synthetic variants with an increased market demand. Production of pigments via fermentation is a promising process, yet optimization of the production yield and rate is crucial. Herein, we evaluated the potential of Penicillium purpurogenum to produce biobased pigments. Optimum sugar concentration was 30 g/L and optimum C:N ratio was 36:1 resulting in the production of 4.1–4.5 AU (namely Pigment Complex A). Supplementation with ammonium nitrate resulted in the production of 4.1–4.9 AU (namely Pigment Complex B). Pigments showed excellent pH stability. The major biopigments in Pigment Complex A were N-threonyl-rubropunctamin or the acid form of PP-R (red pigment), N-GABA-PP-V (violet pigment), PP-O (orange pigment) and monascorubrin. In Pigment Complex B, a novel biopigment annotated as N-GLA-PP-V was identified. Its basic structure contains a polyketide azaphilone with the same carboxyl-monascorubramine base structure as PP-V (violet pigment) and γ-carboxyglutamic acid (GLA). The pigments were not cytotoxic up to 250 μg/mL.     

TG–DSC analysis applied to contemporary oil paints

Thermogravimetry coupled with differential scanning calorimetry (TG–DSC) has been commonly used in the field of conservation of Cultural Heritage for the study of art objects, especially for the characterisation of inorganic matrixes. In recent years, thermal analyses have been applied to the study of organic painting materials. The advantages of performing TG–DSC are linked to the fact that it is micro-destructive technique which does not require any treatment prior the analysis and provide useful information in relatively short time. The aim of this study is to describe the application of TG–DSC on the study of oil binders used in contemporary paints. Even if synthetic binders have become increasingly popular in the 20th century, many contemporary artists still prefer the more traditional media: drying oils. Although the wish of recalling traditional methods, much practical knowledge in paint preparation by mixing drying oil and pigments and in the behaviour of the mixture has been lost. This is mainly due to the different composition of contemporary materials in comparison with the traditional ones and may sometimes lead to different drying properties of the oil paint formulations and consequent problems in the art creation and conservation. For answer to this artistic need and in particular to the difficulties outlined by artists themselves in producing and employing oil paints, unpigmented and pigmented oil films were studied after a week, 1 and 2 years of natural drying under laboratory conditions. Thermal analyses were performed in air flow: the focus of this research was, in fact, to study the thermal and oxidative behaviours of young films for better understanding the very first processes leading to the formation of the film.     

Caput mortuum: spectroscopic and structural studies of an ancient pigment

The use of a pigment variously described as caput mortuum, usta or ostrum to provide a deep purple colour in ancient wall-paintings was highly prized, despite the technical difficulties associated with its application. With the Raman spectroscopic characterization of pigments in ancient frescoes and wall-paintings becoming more widespread, it is timely to consider the identification of this material either as a generic haematite alone or in admixture with contemporary blue pigments. Here, Raman and infrared spectroscopic, X-ray diffractometric and scanning electron microscopic structural studies have been undertaken to characterize caput mortuum and to identify a specimen of Roman wall-painting dating from the 3rd century.     

Spectroscopic Study of Egyptian Blue Mixed with Other Pigments

The Romans used a vast array of colors in their mural paints. The applied pigment mixtures containing Egyptian blue resulting in green, ochre, brown, gray, and white hues were studied. The chromatic characterization of wall paintings by electronic spectroscopy provided an easy and reliable procedure for the grouping of the samples to be studied (see Table). Subsequent use of other spectroscopic techniques such as Fourier‐transform (FT) IR and energy‐dispersive X‐ray spectroscopy (EDS), combined with X‐ray diffraction (XRD), led to convenient identification of the pictorial layer components that define and differentiate each chromatic group. Colors impossible to produce with only one pigment can be obtained by mixing Egyptian blue with other pigments. The dominant wavelength is displaced in such way that the artist obtains new tonalities.