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An exceptional microsample from the ground layer of Leonardo da Vinci's Mona Lisa was analyzed by high-angular resolution synchrotron X-ray diffraction and micro Fourier transform infrared spectroscopy, revealing a singular mixture of strongly saponified oil with high lead content and a cerussite (PbCO3)-depleted lead white pigment. The most remarkable signature in the sample is the presence of plumbonacrite (Pb5(CO3)3O(OH)2), a rare compound that is stable only in an alkaline environment. Leonardo probably endeavored to prepare a thick paint suitable for covering the wooden panel of the Mona Lisa by treating the oil with a high load of lead II oxide, PbO. The review of Leonardo's manuscripts (original and latter translation) to track the mention of PbO gives ambiguous information. Conversely, the analysis of fragments from the Last Supper confirms that not only PbO was part of Leonardo's palette, through the detection of both litharge (α-PbO) and massicot (ß-PbO) but also plumbonacrite and shannonite (Pb2OCO3), the latter phase being detected for the first time in a historical painting.
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The cultural heritage community is increasingly exploring synchrotron radiation (SR) based techniques for the study of art and archaeological objects. When considering heterogeneous and complex micro-samples, such as those from paintings, the combination of different SR X-ray techniques is often exploited to overcome the intrinsic limitations and sensitivity of the single technique. Less frequently, SR X-ray analyses are combined with SR micro-photoluminescence or micro-Fourier Transform Infrared spectroscopy, which provide complementary information on the molecular composition, offering a unique integrated analysis approach. Although the spatial correlation between the maps obtained with different techniques is not straightforward due to the different volumes probed by each method, the combination of the information provides a greater understanding and insight into the paint chemistry. In this work, we discuss the advantages and disadvantages of the combination of X-ray techniques and SR-based photoluminescence through the study of two paint micro-samples taken from Pablo Picasso's Femme (1907). The painting contains two cadmium yellow paints (based on CdS): one relatively intact and one visibly degraded. SR micro-analyses demonstrated that the two Cd-yellow paints differ in terms of structure, chemical composition, and photoluminescence properties. In particular, on the basis of the combination of different SR measurements, we hypothesize that the degraded yellow is based on nanocrystalline CdS with high presence of Cd(OH)Cl. These two characteristics have enhanced the reactivity of the paint and strongly influenced its stability.
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Up to 70 % of the oil paintings conserved in collections present metal soaps, which result from the chemical reaction between metal ions present in the painted layers and free fatty acids from the lipidic binders. In recent decades, conservators and conservation scientists have been systematically identifying various and frequent conservation problems that can be linked to the formation of metal soaps. It is also increasingly recognized that metal soap formation may not compromise the integrity of paint so there is a need for careful assessment of the implications of metal soaps for conservation. This review aims to critically assess scientific literature related to commonly adopted analytical techniques for the analysis of metal soaps in oil paintings. A comparison of different analytical methods is provided, highlighting advantages associated with each, as well as limitations identified through the analysis of reference materials and applications to the analysis of samples from historical paintings.
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The analysis of red particles in paint cross-sections from Leonardo da Vinci's Last Supper, Masolino da Panicale's wall painting Beheading of St. John the Baptist in Castiglione Olona, Tintoretto's The Discovery of the Body of Saint Mark and Paolo Veronese's Supper in the House of Simon has been carried out with micro-Raman measurements. Subtracted shifted Raman spectroscopy methods have been employed to resolve the signals in the presence of fluorescence. Taking advantage of the vibrational assignments based on recent ab initio calculations of aluminum-complexes of anthraquinones, the approach allowed the discriminate between anthraquinone dyes and lakes based on kermesic and carminic acids present in the studied samples for the first time without heavy sample treatment.
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Paints based on cadmium sulfide (CdS) were popular among artists beginning in the mid-19th century. Some paint formulations are prone to degrade, discoloring and disfiguring paintings where they have been used. Pablo Picasso's Femme (Époque des "Demoiselles d'Avignon") (1907) includes two commercial formulations of CdS: one is visibly degraded and now appears brownish yellow, while the other appears relatively intact and is vibrant yellow. This observation inspired the study reported here of the photoluminescence emission from trap states of the two CdS paints, complemented by data from multispectral imaging, X-ray fluorescence spectroscopy, micro-FTIR, and SEM-EDS. The two paints exhibit trap state emissions that differ in terms of spectrum, intensity, and decay kinetics. In the now-brownish yellow paint, trap state emission is highly favored with respect to near band edge optical recombination. This observation suggests a higher density of surface defects in the now-brownish yellow paint that promotes the surface reactivity of CdS particles and their subsequent paint degradation. CdS is a semiconductor, and surface defects in semiconductors can trap free charge carriers; this interaction becomes stronger at reduced particle size or, equivalently, with increased surface to volume ratio. Here, we speculate that the strong trap state emission in the now-brownish cadmium yellow paint is linked to the presence of CdS particles with a nanocrystalline phase, possibly resulting from a low degree of calcination during pigment synthesis. Taken together, the results presented here demonstrate how photoluminescence studies can probe surface defects in CdS paints and lead to an improved understanding of their complex degradation mechanisms.
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Recent studies have shown that modern pigments produced after the Second Industrial Revolution are complex systems characterized by a high level of heterogeneities. Therefore, it is fundamental to adopt a multianalytical approach and highly sensitive methods to characterize the impurities present within pigments. In this work we propose time-resolved and spectrally resolved photoluminescence (PL) microscopy for the mapping of luminescent crystal defects and impurities in historical cadmium-based pigments. PL analysis is complemented by X-ray diffraction, X-ray fluorescence and Raman spectroscopies, and by scanning electron microscopy to determine the chemical composition and crystal structure of samples. The study highlights the heterogeneous and complex nature of historical samples that can be associated with the imperfect manufacturing processes tested during the period between the 1850s and 1950s. The results also allow us to speculate on a range of synthesis processes. Since it is recognized that the stability of paints can be related to pigments synthesis, this research paves the way to a wider study on the relationship between synthesis methods and deterioration of cadmium pigments and paints. This rapid and immediate approach using PL can be applied to other semiconductor pigments and real case studies.
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An organic binder was identified in the painted fragments from the Canaanite palace of Tel Kabri, Israel. Recently dated to the late 18th century B.C.E. by 14 C, Tel Kabri is the most ancient of the Eastern Mediterranean sites in which Aegean style paintings have been found. The application of pigments was suspected to be using an organic binding medium, particularly for the Egyptian Blue pigment. Samples of blue paint were examined using evolved gas analysis-mass spectrometry (EGA-MS) in order to overcome the analytical challenges imposed by highly degraded aged proteinaceous materials. Egg was identified as the binder based on the presence of hexadecanonitrile and octadecanonitrile, confirming the use of a secco painting technique. Lysozymeâ C from Gallus gallus was detected by proteomics analysis, confirming the presence of egg. To our knowledge, this is the earliest use of egg as a binder in Aegean style wall paintings.
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In conservation, science semiconductors occur as the constituent matter of the so-called semiconductor pigments, produced following the Industrial Revolution and extensively used by modern painters. With recent research highlighting the occurrence of various degradation phenomena in semiconductor paints, it is clear that their detection by conventional optical fluorescence imaging and microscopy is limited by the complexity of historical painting materials. Here, we illustrate and prove the capabilities of time-resolved photoluminescence (TRPL) microscopy, equipped with both spectral and lifetime sensitivity at timescales ranging from nanoseconds to hundreds of microseconds, for the analysis of cross-sections of paint layers made of luminescent semiconductor pigments. The method is sensitive to heterogeneities within micro-samples and provides valuable information for the interpretation of the nature of the emissions in samples. A case study is presented on micro samples from a painting by Henri Matisse and serves to demonstrate how TRPL can be used to identify the semiconductor pigments zinc white and cadmium yellow, and to inform future investigations of the degradation of a cadmium yellow paint.
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It is known that oil paintings containing zinc white are subject to rapid degradation. This is caused by the interaction between the active groups of binder and the metal ions of the pigment, which gives rise to the formation of new zinc complexes (metal soaps). Ongoing studies on zinc white paints have been limited to the chemical mechanisms that lead to the formation of zinc complexes. On the contrary, little is known of the photo-physical changes induced in the zinc oxide crystal structure following this interaction. Time-resolved photoluminescence spectroscopy has been applied to follow modifications in the luminescent zinc white pigment when mixed with binder. Significant changes in trap state photoluminescence emissions have been detected: the enhancement of a blue emission combined with a change of the decay kinetic of the well-known green emission. Complementary data from molecular analysis of paints using Fourier transform infrared spectroscopy confirms the formation of zinc carboxylates and corroborates the mechanism for zinc complexes formation. We support the hypothesis that zinc ions migrate into binder creating novel vacancies, affecting the photoluminescence intensity and lifetime properties of zinc oxide. Here, we further demonstrate the advantages of a time-resolved photoluminescence approach for studying defects in semiconductor pigments.
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We have explored the performance of an integrated multianalytical approach to the analysis of a series of microsamples of historical lithopone (a coprecipitate of ZnS + BaSO4) produced at the beginning of the 20th century, based on the combination of spectrally- and lifetime-resolved photoluminescence (PL) microscopy imaging and electron paramagnetic resonance (EPR) spectroscopy. Multispectral imaging of the PL emission from microsamples revealed the presence of different luminescence centers emitting in the visible spectrum, which we have hypothesized as trace Cu and Mn impurities unintentionally introduced into the ZnS crystal lattice during synthesis, which act as deep traps for electrons. Time-resolved PL imaging analyses highlighted the microsecond decay-kinetic behavior of the emission, confirming the trap state nature of the luminescence centers. EPR confirmed the presence of Cu and Mn, further providing information on the microenvironment of defects in the ZnS crystalline lattice related to specific paramagnetic ions. The multianalytical approach provides important insights into the historical synthesis of lithophone and will be useful for the rapid screening and mapping of impurities in complex semiconductor pigments and other artists' materials.
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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.
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Synchrotron-based Fourier transform infrared micro-spectroscopy (SR-µFTIR) was used to map photo-oxidative degradation of acrylonitrile-butadiene-styrene (ABS) and to investigate the presence and the migration of additives in historical samples from important Italian design objects. High resolution (3×3 µm(2)) molecular maps were obtained by FTIR microspectroscopy in transmission mode, using a new method for the preparation of polymer thin sections. The depth of photo-oxidation in samples was evaluated and accompanied by the formation of ketones, aldehydes, esters, and unsaturated carbonyl compounds. This study demonstrates selective surface oxidation and a probable passivation of material against further degradation. In polymer fragments from design objects made of ABS from the 1960s, UV-stabilizers were detected and mapped, and microscopic inclusions of proteinaceous material were identified and mapped for the first time.
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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.
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Applications of time-resolved photoluminescence spectroscopy (TRPL) and fluorescence lifetime imaging (FLIM) to the analysis of cultural heritage are presented. Examples range from historic wall paintings and stone sculptures to 20th century iconic design objects. A detailed description of the instrumentation developed and employed for analysis in the laboratory or in situ is given. Both instruments rely on a pulsed laser source coupled to a gated detection system, but differ in the type of information they provide. Applications of FLIM to the analysis of model samples and for the in-situ monitoring of works of art range from the analysis of organic materials and pigments in wall paintings, the detection of trace organic substances on stone sculptures, to the mapping of luminescence in late 19th century paintings. TRPL and FLIM are employed as sensors for the detection of the degradation of design objects made in plastic. Applications and avenues for future research are suggested.
Asunto(s)
Imagenología Tridimensional/métodos , Luminiscencia , Pinturas , Escultura , Análisis Espectral/métodos , Cultura , Fluorescencia , Rayos Láser , Polímeros/análisis , Factores de TiempoRESUMEN
A noninvasive method to assess the local monomer concentration within a wooden matrix, post monomer impregnation, by time-resolved diffuse optical spectroscopy is demonstrated. A data analysis technique for improving accuracy, which takes account of changes in the refractive index during the monomer uptake, has been employed. This technique can be potentially applied in the wood industry for the study of polymer composites as well as in cultural heritage science for noninvasively monitoring the penetration of chemical compounds used for consolidation or conservation purposes.
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In this work, a novel combination of portable micro-Raman spectroscopy and semi-automatic methods of data treatment are proposed for the classification and mapping of visible multispectral imaging data for the analysis of a painting on paper by Vincent Van Gogh. Analysis of multispectral imaging data with the sequential maximum-angle convex cone (SMACC) and spectral angle mapper (SAM) algorithms differentiated the surface into areas on the basis of the presence of pigment mixtures. Complementary analytical information was obtained through portable Raman spectroscopy was performed on a few selected points of the painting, allowing for the determination of Van Gogh's palette and the mapping of pigment mixtures on the painting's surface; the number of mixtures employed is varied and at least two different blues are present. The results obtained were integrated with the information from prior ultraviolet (UV)-induced luminescence analysis performed on the same painting to better understand the materials used by the artist. The mathematical treatment of multispectral data using the proposed methods could be extended to the analysis of other painted surfaces.
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In conservation science, one of the main concerns is to extract information from an artistic surface without damaging it. Raman spectroscopy has emerged in recent years as a reliable tool for the non-destructive analysis of a wide range of inorganic and organic materials in works of art and archaeological objects. Nevertheless, the technique is still mainly limited to the analysis of micro-samples taken from artistic surfaces. The development of an instrument able to perform non-contact analysis of an area of a few square centimeters aims to further increase the employment of this technique. This paper describes the development of a prototype Raman scanning spectrometer based on a diode laser, a 2D scanning mirror stage and a custom optical system, which can map a surface of 6 cm in diameter at a working distance of 20 cm. The device exhibits collecting optics with a depth of field close to 6 cm, which makes the Raman system suitable for the analysis of non-flat surfaces and three-dimensional objects. In addition, the overall dimensions and weight of the instrument have been limited in order to make the device transportable and, in principle, usable for in situ measurements. Details on the design of the device, with particular emphasis on the collecting optical system, and on results of the characterization tests carried out to assess its performances are reported. Finally, an example of an application involving the identification of pigments from a model painting is presented.
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UV-visible luminescence techniques are fre-quently used for the study of cultural heritage materials, despite their limitations for identification and discrimination in the case of complex heterogeneous materials. In contrast to tabletop setups, two methods based on the vacuum ultraviolet (VUV)-UV-visible emission generated at a bending magnet of a synchrotron source are described. The main advantages of the source are the extended wavelength range attained, the continuous tunability of the source, and its brightness, leading to a submicrometer lateral resolution. Raster-scanning microspectroscopy and full-field microimaging were implemented and tested at the DISCO beamline (synchrotron SOLEIL, France). Investigative measurements were performed on a sample from a varnished musical instrument and a paint sample containing the pigment zinc white (ZnO) in order to illustrate some of the challenges analyzing heterogeneous cultural heritage cross-section samples with the novel imaging approach. The data sets obtained proved useful for mapping organic materials at the submicrometer scale and visualizing heterogeneities of the semiconductor pigment material. We propose and discuss the combined use of raster-scanning microspectroscopy and full-field microimaging in an integrated analytical methodology. Synchrotron UV luminescence appears as a novel tool for identification of craftsmen's and artists' materials and techniques and to assess the condition of artifacts, from the precise identification and localization of luminescent materials.
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The preservation of design object collections requires an understanding of their constituent materials which are often polymeric blends. Challenges associated with aging of complex polymers from objects with an unknown physical history may compromise the interpretation of data from analytical techniques, and therefore complicate the assessment of the condition of polymers in indoor museum environments. This study focuses on the analysis of polymeric materials from three well-known Italian design lamps from the 1960s. To assess the degree of chemical modifications in the polymers, non-destructive molecular spectroscopic techniques, Fourier-transform infrared (FTIR) and fluorescence spectroscopy, have been applied directly on the object surfaces using an optical fiber probe and through examination of micro samples. FTIR spectra of the different polymers, polyvinylacetate (PVAc) for the lamps Taraxacum and Fantasma, and both acrylonitrile-butadiene-styrene polymer (ABS) and cellulose acetate (CA) for the lamp Nesso, allowed the detection of ongoing deterioration processes. Fluorescence spectroscopy proved particularly sensitive for the detection of molecular changes in the polymeric objects, as the spectra obtained from the examined lamps differ significantly from those of the unaged reference materials. Differences in fluorescence spectra are also detected between different points on the same object further indicating the presence of different chemical species on the surfaces. With the aid of complementary data from FTIR spectroscopy, an interpretation of the emission spectra of the studied polymeric objects is here proposed, further suggesting that fluorescence spectroscopy may be useful for following the degradation of historical polymeric objects.
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The analysis of various varnishes from different origins, which are commonly found on historical musical instruments was carried out for the first time with both fluorescence excitation emission spectroscopy and laser-induced time-resolved fluorescence spectroscopy. Samples studied include varnishes prepared using shellac, and selected diterpenoid and triterpenoid resins from plants, and mixtures of these materials. Fluorescence excitation emission spectra have been collected from films of naturally aged varnishes. In parallel, time-resolved fluorescence spectroscopy of varnishes provides means for discriminating between short- (less than 2.0 ns) and long-lived (greater than 7.5 ns) fluorescence emissions in each of these complex materials. Results suggest that complementary use of the two non destructive techniques allows a better understanding of the main fluorophores responsible for the emission in shellac, and further provides means for distinguishing the main classes of other varnishes based on differences in fluorescence lifetime behaviour. Spectrofluorimetric data and time resolved spectra presented here may form the basis for the interpretation of results from future in situ fluorescence examination and time resolved fluorescence imaging of varnished musical instruments.