Multispectral and hyperspectral image analysis of elemental and micro-Raman maps of cross-sections from a 16th century painting

Spectroscopic imaging is well suited to the study of micro-samples from artworks, where the sample material is limited and the maximum amount of information needs to be obtained. In this study, a new approach to imaging elemental data from energy dispersive X-ray analysis maps was used in conjunction with micro-Raman spectroscopic imaging to characterise the paint layers within micro-samples. Cross-sections from the 16th century painting Portrait of a Youth were found to contain vermilion, lead-tin yellow type 1 and a blue-green pigment consistent with terre-verte. The mid-preparatory layer (imprimatura) contains a high proportion of elements and mineral inclusions that indicates a clay-type composition. The ground layer was identified as anhydrite with large gypsum inclusions. The pigments and composition of the preparatory layers are consistent with those used by Italian Renaissance artist Dosso Dossi.     

Characterisation of proteinaceous binders in artistic paintings by chromatographic techniques

This review discusses the application of chromatographic techniques (GC, HPLC and Py-GC) for the characterisation of proteinaceous materials in artistic paintings. The focus is on the various analytical steps that are needed to determine these natural materials in paint samples, from sampling and sample pre-treatment, including various methods of hydrolysis and derivatisation for GC and HPLC, to approaches for data evaluation.     

An evaluation of GC-MS and HPLC-FD methods for analysis of protein binders in paintings

Two chromatographic methods have been compared for analysis of protein-binding media used in paintings, namely, HPLC with fluorescence detection and GC-MS. The proteins were hydrolyzed to the corresponding amino acids (AAs) by gaseous HCl and the AAs were derivatized with methyl chloroformate, followed by GC-MS or by HPLC after derivatization with the AccQ fluorescence reagent. The hydrolysis, derivatization reactions and the chromatographic procedures have been optimized and applied to standard binding media, model and real samples of paintings. The methods have been compared and critically evaluated.     

Preparation of thin-sections of painting fragments: Classical and innovative strategies

For more than a century, the analyses of painting fragments have been carried out mainly through the preparation of thick resin-embedded cross-sections. Taking into account the development of innovative micro-analytical imaging techniques, alternatives to this standard preparation method are considered. Consequently, dedicated efforts are required to develop preparation protocols limiting the risks of chemical interferences (solubilisation, reduction/oxidation or other reactions) which modify the sample during its preparation, as well as the risks of analytical interferences (overlap of detected signals coming from the sample and from materials used in the preparation). This study focuses particularly on the preparation of thin-sections (1–20 μm) for single or combined fourier transform infrared (FTIR) spectroscopy and X-ray 2D micro-analysis. A few strategies specially developed for the μFTIR analysis of painting cross-sections have already been reported and their potential extrapolation to the preparation of thin-sections is discussed. In addition, we propose two new specific methods: (i) the first is based on a free-embedding approach, ensuring a complete chemical and analytical neutrality. It is illustrated through application on polymeric design objects corpus; (ii) the second is based on a barrier coating approach which strengthens the sample and avoids the penetration of the resin into the sample. The barrier coating investigated is a silver chloride salt, an infrared transparent material, which remains malleable and soft after pellet compression, enabling microtoming. This last method was successfully applied to the preparation of a fragment from a gilded Chinese sculpture (15th C.) and was used to unravel a unique complex stratigraphy when combining μFTIR and μXRF.     

Time-resolved fluorescence spectroscopy and imaging of proteinaceous binders used in paintings

The differentiation of proteins commonly found as binding media in paintings is presented based on spectrally resolved and time-resolved laser-induced fluorescence (LIF) and total emission spectroscopy. Proteins from eggs and animal glue were analysed with pulsed laser excitation at 248 nm (KrF excimer) and 355 nm (third harmonic of Nd:YAG) for spectrally resolved measurements, and at 337 nm (N₂) and 405 nm (N₂ pumped dye laser) for spectrally resolved lifetime measurements and fluorescence lifetime imaging (FLIM). Total emission spectra of binding media are used for the interpretation of LIF spectra. Time-resolved techniques become decisive with excitation at longer wavelengths as fluorescence lifetime permits the discrimination amongst binding media, despite minimal spectral differences; spectrally resolved measurements of fluorescence lifetime have maximum differences between the binding media examined using excitation at 337 nm, with maximum observed fluorescence at 410 nm. FLIM, which measures the average lifetime of the emissions detected, can also differentiate between media, is non-invasive and is potentially advantageous for the analysis of paintings. Figure The fluorescence of solid ox glue extracted from collagen can be visualised in this Total Fluorescence Spectrum; three different peaks from multiple fluorophores are present and allow the discrimination between collagen- and non-collagen proteinaceous binding media found in paintings     

The use of surfactants in the cleaning of works of art

Surfactants have been historically used for cleaning artifacts, but it was only in the last decades that serendipitous approaches were replaced by research in the field of soft matter and colloid science. Surfactants are components of nanostructured fluids, which were assessed for the removal of soil and aged coatings from paintings and are fundamental in processes that range from the inclusion of grime in micelles to the swelling and dewetting of polymer layers. Intriguing aspects involve the synthesis and use of biodegradable and self-cleavable surfactants, and the confinement of nanostructured fluids in gels, which boost the selectiveness of cleaning interventions. The performances of these advanced systems surpass those of traditional cleaning materials such as solvent blends and thickeners. The most important results are here reviewed and future perspectives given. Besides granting the transfer of cultural heritage to future generations, advanced cleaning materials are relevant to transversal fields, such as detergency, cosmetics, and drug delivery.     

Characterization of pigments used in painting by means of laser-induced plasma and attenuated total reflectance FTIR spectroscopy

The study of pigments which are found in the works of art is one of the most important tasks in the examination of historic, artistic and archaeological materials since it can provide information about their source, the pictorial technique used or the presence of restoration works.In some studies, the historical, artistic and technical characterization of the artefact is not the final goal but its restoration. In those cases, the knowledge about the chemical composition inferred from the analysis of the artwork is crucial for conservators and restorers in order to ensure that the same pigments that were used in the original work are employed for the restoration.In this work, the analytical characterization of a range of different pigments commonly used in art has been carried out using laser-induced plasma (LIBS) and attenuated total reflectance (ATR)-FTIR spectroscopy. The main purpose of this study is to provide a preliminary database of LIBS and ATR-FTIR spectra in order to supply both elemental and molecular information, respectively.     

Nature and origin of black spots found on Miró paintings: a non-invasive study

The degradation mechanism of cadmium pigments in an oil painting by Joan Miró is determined and reproduced. All possible chemical reactions leading to the observed alteration are checked in laboratory conditions. The behaviour of the different materials (support, pigments and binding medium) are determined. The study of the reaction and products is made using optical microscopy, scanning electron microscopy (SEM) with an energy dispersive X-ray detector, Fourier transform infrared spectroscopy and X-ray diffraction.