Visualising varnish removal for conservation of paintings by fluorescence lifetime imaging (FLIM).

The removal of varnish from the surface is a key step in painting conservation. Varnish removal is traditionally monitored by examining the painting surface under ultraviolet illumination. We show here that by imaging the fluorescence lifetime instead, much better contrast, sensitivity, and specificity can be achieved. For this purpose, we developed a lightweight (4.8 kg) portable instrument for macroscopic fluorescence lifetime imaging (FLIM). It is based on a time-correlated single-photon avalanche diode (SPAD) camera to acquire the FLIM images and a pulsed 440 nm diode laser to excite the varnish fluorescence. A historical model painting was examined to demonstrate the capabilities of the system. We found that the FLIM images provided information on the distribution of the varnish on the painting surface with greater sensitivity, specificity, and contrast compared to the traditional ultraviolet illumination photography. The distribution of the varnish and other painting materials was assessed using FLIM during and after varnish removal with different solvent application methods. Monitoring of the varnish removal process between successive solvent applications by a swab revealed an evolving image contrast as a function of the cleaning progress. FLIM of dammar and mastic resin varnishes identified characteristic changes to their fluorescence lifetimes depending on their ageing conditions. Thus, FLIM has a potential to become a powerful and versatile tool to visualise varnish removal from paintings.

Surface Acoustic Wave Nebulization-Mass Spectrometry as a New Tool to Investigate the Water Sensitivity Behavior of 20th Century Oil Paints.

The sensitive surfaces of many unvarnished 20th century oil paintings are of great concern for conservators and collection keepers. They may show degradation problems such as paint delamination, dripping, and soft and sticky paint and pose challenges for cleaning due to solvent sensitivity. We report for the first time the use of an innovative ambient ionization technique, surface acoustic wave nebulization-mass spectrometry (SAWN-MS), for the identification and characterization of fatty acids, dicarboxylic species and glycerides in water-sensitive modern oil paints. The composition of 10 relevant Winsor and Newton 1964-1965 paint swatches that present different degrees of water sensitivity and two paint samples from a painting by the British artist Francis Bacon were studied. Principal component analysis was used for SAWN-MS data classification. Electrospray ionization (ESI)-MS was used as control method, specifically to compare the obtained ratios of markers of interest by the two ionization techniques. The results obtained by both ESI-MS and SAWN-MS are correlated and discussed in a broader context including the information on the oil media obtained by gas chromatography (GC-MS) and also on the inorganic materials and salts characterized using a combination of methods in previous reports on samples from the same manufacturer. SAWN-MS was found to be a suitable tool for the determination of soluble organic constituents present in the paints. The method provides an indication of the level of oxidation and hydrolysis of the paint film by monitoring specific markers such as free palmitic and stearic acids, azelaic acid, monoacylglycerols, and diacylglycerols. The data showed that a higher level of water sensitivity coupled with a high level of oxidation and hydrolysis is linked to higher dicarboxylic acid, diacyl- and triacylglyceride content and lower levels of short chain fatty acids. The data obtained by SAWN-MS provided a good correlation between the monitored species and the degree of water sensitivity.

A Preliminary Study on the Differentiation of Linseed and Poppy Oil Using Principal Component Analysis Methods Applied to Fiber Optics Reflectance Spectroscopy and Diffuse Reflectance Imaging Spectroscopy.

This paper presents results from the examination of a set of experimental samples using fibre optic reflectance spectroscopy (FORS) and diffuse reflectance imaging spectroscopy in the short-wave infrared (SWIR) range, combined with statistical analysis of the data for the discrimination and mapping of poppy and linseed oil. The aim was to evaluate the efficacy of this non-invasive approach for the study of paint samples with a view to the application of the method for characterisation of the two drying oils in painted art. The approach allowed discrimination between the two drying oils based on FORS spectra and the hyperspectral cube, indicating the influence of the spectral region around 1700 nm on the statistical discrimination based on the anti-symmetric and symmetric first overtone stretching of methylenic CH2 groups. This method is being studied as a potential non-invasive method of organic analysis of oil types that have formerly been studied using gas chromatography-mass spectrometry (GC-MS), which requires micro-samples.

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing.

The 20th and 21st century oil paintings are presenting a range of challenging conservation problems that can be distinctly different from those noted in paintings from previous centuries. These include the formation of vulnerable surface "skins" of medium and exudates on paint surfaces, efflorescence, unpredictable water and solvent sensitivity, and incidence of paint dripping which can occur within a few years after the paintings were completed. Physicochemical studies of modern oil paints and paintings in recent years have identified a range of possible causal factors for the noted sensitivity of painting surfaces to water and protic solvents, including the formation of water-soluble inorganic salts and/or the accumulation of diacids at the paint surface, which are oxidation products of the oil binder. Other studies have investigated the relationship between water sensitivity and the degree of hydrolysis of the binder, the proportions of free fatty and dicarboxylic acids formed, as well as the relative content of free metal soaps. Thus far, data indicate that the qualitative and quantitative composition of the nonpolymerized fractions of the oil binder cannot be solely or directly related to the solvent sensitivity of the paint film. Conclusions therefore indicate that the polymeric network, formed upon the curing of the oil, plays a fundamental role, suggesting that water sensitivity, at least in some cases, may be related to the poor development and/or polar nature of the formed polymeric network rather than the composition of the nonpolymerized fractions. Poorly developed polymeric networks, in combination with the migration of polar fractions, i.e., dicarboxylic and hydroxylated fatty acids toward the paint surface, can be related to other degradation phenomena, including the separation and migration of the paint binder which can lead to the presence of observable skins of medium as well as the more alarming phenomenon of liquefying or dripping oil paints. It is thus crucial to understand the molecular composition of these paints and their physicochemical behavior to aid the further development of appropriate conservation and preservation strategies, as the risks currently associated with surface cleaning treatments and other conservation procedures can be unacceptably high. This Account reviews the relationships between the degradation phenomena associated with modern oil paintings and the chemical composition of the oil binder and proposes a molecular model for the development of water sensitivity and other noted degradation phenomena. It is suggested that water sensitivity (and possibly other degradation phenomena) is a consequence of processes that take place upon curing, and in particular to the rate of formation and decomposition of alkoxyl and peroxyl radicals. These reactions are strongly dependent on the type of oil present, the ambient environmental conditions, and the chemical and physical nature of the pigments and additives present in the paint formulation. When the curing environment is oxidizing, the chemistry of peroxyl radicals dominates the reaction pathways, and oxidative decomposition of the paint film overwhelms cross-linking reactions.

The role of the polymeric network in the water sensitivity of modern oil paints.

Spectroscopic and mass spectrometric analytical techniques were used to characterise two naturally aged Winsor & Newton (W&N) Winsor Green (phthalocyanine green, PG7) artists' oil colour paint swatches dating to 1993 and 2003. Infrared and Energy Dispersive X-ray (EDX) analysis indicated that the swatches were of closely similar composition, yet the swatch from 2003 was water-sensitive whilst the swatch from 1993 was not. Water-sensitivity is a conservation challenge associated with significant numbers of modern oil paintings and this study aimed to further develop our understanding of the molecular causes of water sensitivity. SEM elemental mapping of samples taken from both swatches provided no indication for the formation of epsomite - a known cause of water sensitivity in some modern oil paintings. Liquid chromatography coupled with mass spectrometry (HPLC-MS) and gas chromatography coupled with mass spectrometry (GC-MS) also revealed very similar qualitative-quantitative composition in terms of unbound and esterified medium fractions. The polymeric network was investigated using analytical pyrolysis. A combination of flash pyrolysis coupled with gas chromatography mass spectrometry (Py-GC-MS) together with evolved gas analysis mass spectrometry (EGA-MS) revealed that the polymeric material was relatively more abundant in the non-water-sensitive paint. This is the first multi-analytical study that has demonstrated a correlation between water-sensitivity and the degree of polymerisation of the oil medium; independent of other known causes of water-sensitivity.

Time-Resolved Photoluminescence Microscopy Combined with X-ray Analyses and Raman Spectroscopy Sheds Light on the Imperfect Synthesis of Historical Cadmium Pigments.

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.

A molecular study of modern oil paintings: investigating the role of dicarboxylic acids in the water sensitivity of modern oil paints.

The 20th century has seen a significant evolution in artists' paint formulation and technology which is likely to relate to the new conservation challenges frequently presented by modern oil paintings, including unpredictable water- and solvent-sensitivity. This study examined the molecular causes and mechanisms behind these types of modern oil paint vulnerability. Research performed up to now has suggested a correlation between the occurrence of water sensitivity and the presence of relatively high amounts of extractable free dicarboxylic acids. To explore this further, as well as the influence of paint formulation, a set of model paint samples, produced in 2006 using commercial tube paints to which known amounts of additives were added, were analysed. The samples were tested for water sensitivity by aqueous swabbing and characterised using transmission Fourier Transform-Infra Red spectroscopy (FTIR) to determine the molecular composition of the main paint constituents, High Performance Liquid Chromatography-Mass Spectrometry (HPLC-MS), to identify the type(s) of drying oils used as binders, and Gas Chromatography-Mass Spectrometry (GC-MS) using a recently developed analytical procedure that can discriminate and quantify free fatty and dicarboxylic acids, as well as their corresponding metal soaps (carboxylates of fatty and dicarboxylic acids). The results indicated that the addition of small amounts of additives can influence the water sensitivity of an oil paint, as well as its molecular composition. Additionally the nature of the ionomeric/polymeric network appears to be a significant determining factor in the development of water sensitivity.

A non-invasive XRF study supported by multivariate statistical analysis and reflectance FTIR to assess the composition of modern painting materials.

The palette used in two paintings by Paul Cézanne, L'étang des soeurs dated c. 1875 and La route tournante, made in the last year of his life (1902), were analyzed using non-invasive spectroscopic methods. X-ray fluorescence combined with principal components analysis (PCA) and supported by reflectance near- and mid-FTIR was shown to be a powerful analytical tool to draw conclusions about the chemical identification of inorganic materials in paintings. Pigments and fillers such us Thénard's blue, Prussian blue, red ochre, kaolin, vermilion, lead white, zinc white and barium sulphate, were identified. Evidence for three different pigments, namely a copper arsenite pigment, chrome green (a mixture of chrome yellow and Prussian blue) and viridian has been obtained by the PCA analysis of elemental compositions of green hues.

Analysis of protein-based media commonly found in paintings using synchronous fluorescence spectroscopy combined with multivariate statistical analysis.

The spectrofluorimetric analysis of protein-based binding media, which are commonly found as painting materials, is based on the detection of emissions from amino acids, as well as fluorescent degradation products that develop with aging. Laser-induced fluorescence spectroscopy, fluorescence excitation emission spectroscopy, and time-resolved fluorescence spectroscopy have all been employed in efforts to discriminate between commonly found proteinaceous binding media, including egg white, egg yolk, milk, and casein, as well as collagen-based glues from rabbit skin, ox bone, parchment, and fish. However, synchronous fluorescence spectroscopy (SFS), a rapid means of recording fluorescence properties of samples, has not been reported for the differentiation between binding media. This work focuses on the analysis of a large set of naturally aged films of different protein-based binding media using SFS with a range of different offsets between excitation and emission monochromators between 30-60 nm. An interpretation of synchronous fluorescence spectra of binding media is presented and is followed by an assessment and classification of a database of recorded spectra using multivariate analysis. Importantly, following SFS analysis of films of binding media, principal component analysis is used to differentiate among all the proteinaceous media considered on the basis of clustering of data. This application is thus a novel and nondestructive means for differentiation between protein-based binding media.

The use of microspectrofluorimetry for the characterization of lake pigments.

In this paper, the potential of confocal microfluorescence spectroscopy is explored for the characterization of selected red lake pigments and paints based on alizarin, purpurin and eosin (weak, medium and strong emitters). The anthraquinone pigments have been used since ancient times by artists, and eosin lakes were used by impressionist painters. Reconstructions of artists paints based on 19th century recipes are examined. The paints were made using the lake pigments bound in a range of binding media including gum arabic, collagen, a vinyl emulsion and linseed oil. The acquisition of the spectra is rapid, with high spatial resolution and the data reliable and reproducible. Together with full emission spectra, it was possible to acquire well-resolved excitation spectra for purpurin, alizarin and eosin based colors. The present investigation suggests that micro-emission fluorescence can also be used as a semi-quantitative method for madder lake pigments, enabling the determination of purpurin lake ratio in a mixture of purpurin and alizarin, which is important for provenance studies. The data obtained with microfluorescence emission with those acquired with fiber-optic fluorimetry are compared. The spatial resolution used, 8microm, is appropriate for the analysis of individual pigments particles or aggregates in a paint film. Micro-emission molecular fluorescence proved to be a promising analytical tool to identify the presence of selected red lake pigments combined with a range of binding media.

Raman spectra of proteinaceous materials used in paintings: a multivariate analytical approach for classification and identification.

This work presents Raman spectra obtained from thin films of protein materials which are commonly used as binding media in painted works of art. Spectra were recorded over the spectral range of 3250-250 cm(-1), using an excitation wavelength of 785 nm, and several bands have been identified in the fingerprint region that correspond to the various proteins examined. Differences in the C-H vibrations located between 3200 and 2700 cm(-1) can be accounted for with reference to the amino acid composition of the protein-based binding media as well as the presence of fatty acid esters, in the case of egg yolk. In addition, the discrimination of different proteins on the basis of variations in spectra between 3200 and 2700 cm(-1) can be achieved following multivariate analysis of a large data set of spectra, providing a novel and nondestructive alternative based on Raman spectroscopy to other methods commonly used for the analysis of proteins.

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.