A novel GC/MS analytical procedure for the identification of lipids, waxes, proteins, and resinous materials in the same microsample from painted works of art has been optimized. It is based on a sample multistep chemical pretreatment (solvent extractions and microwave-assisted chemolysis) that is able to separate the various organic components into different fractions, which are suitably treated and derivatized before analysis. In particular, the procedure allows the complete saponification of wax esters and the completeness of the Cannizzaro type reaction of shellac acids in conditions that are suitable also for glycerides saponification. The method was tested on reference materials for the identification of proteinaceous binders (egg, collagen, casein) on the basis of the quantitative determination of the amino acid profile and the identification of glycerolipids (linseed oil, poppy seed oil, walnut oil, and egg), plant resins (Pinaceae resins, sandarac, mastic, and dammar), animal resins (shellac), tars or pitches, and natural waxes (beeswax, carnauba wax) on the basis of the determination of fatty acid, alcohol, and hydrocarbon profiles and of significant terpenic molecular markers. The procedure was applied to the characterization of three old paint microsamples. Animal glue, egg, linseed oil, beeswax, Pinaceae resin, dammar, and shellac were the identified materials found in mixtures and recognized as original and/or restoration substances.

An innovative GC/MS procedure for the characterization of organic materials in samples from works of art was developed. It is based on a multistep chemical pretreatment of the samples based on the ammonia extraction of proteins and polysaccharide materials, in order to separate them from lipid and resinous materials. The extraction is then followed by the separation and purification of proteinaceous and polysaccharide materials before hydrolysis, based on the use of monolithic sorbent tip technology with a C4 stationary phase. Lipids and resins are saponified/salified separately. Three fractions are generated and analyzed separately by GC/MS, thus enabling a quantitative analysis to be performed on aldoses and uronic acids, amino acids, mono- and dicarboxylic aliphatic acids, to determine polysaccharide, proteinaceous, and glycerolipid materials and molecular pattern recognition for the natural resin and wax components. With this analytical procedure, for the first time, glycerolipids, natural waxes, and proteinaceous, resinous, and polysaccharide materials can be simultaneously characterized in the same microsample from painted works of art. This new analytical approach prevents any analytical difficulties arising when the sample is divided into several different aliquots to be chemically processed separately, in order to characterize the various classes of organic materials. The procedure was successfully applied to samples from paintings from the Bamiyan Buddhas and a panel painting from the 15th century, highlighting the occurrence of glycerolipids, animal and plant resins, proteinaceous and polysaccharide materials.

Throughout history, artists have experimented with a variety of organic-based natural materials, using them as paint binders, varnishes, and ingredients for mordants in gildings. Artists often use many layers of paint to produce particular effects. How we see a painting is thus the final result of how this complex, highly heterogeneous, multimaterial, and multilayered structure interacts with light. The chemical characterization of the organic substances in paint materials is of great importance for artwork conservation because the organic components of the paint layers are particularly subject to degradation. In addition, understanding the organic content and makeup of paint materials allows us to differentiate between the painting techniques that have been used over history. Applying gas chromatography/mass spectrometry (GC/MS) analysis to microsamples of paint layers is widely recognized as the best approach for identifying organic materials, such as proteins, drying oils, waxes, terpenic resins, and polysaccharide gums. The method provides essential information for reconstructing artistic techniques, assessing the best conditions for long-term preservation, and planning restoration. In this Account, we summarize the more common approaches adopted in the study of the organic components of paint materials. Our progress in developing GC/MS analytical procedures in the field of cultural heritage is presented, focusing on problems that arise from (i) the presence of mixtures of many chemically complex and degraded materials, (ii) the interference of inorganic species, (iii) the small size of the samples, and (iv) the risk of contamination. We outline some critical aspects of the analytical strategy, such as the need to optimize specific wet-chemical sample pretreatments in order to separate the various components, hydrolyze macromolecular analytes, clean-up inorganic ions, and derivatize polar molecules for subsequent GC/MS separation and identification. We also discuss how to interpret the chromatographic data so as to be able to identify the materials. This identification is based on the presence of specific biomarkers (chemotaxonomy), on the evaluation of the overall chromatographic profile, or on the quantitative analysis of significant compounds. GC/MS-based analytical procedures have for 20 years provided important contributions to conservation science, but challenges and opportunities still coexist in the field of organic-based paint materials. We give selected examples and provide case studies showing how a better understanding of the chemical composition of organic paint materials and of their degradation pathways contribute to a better knowledge our cultural heritage, and to its preservation for future generations.

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Proteomic strategies are herein proved to be a complementary approach to the well established amino acid composition analysis for the characterization of the aging and deterioration phenomena occurring to proteinaceous materials in works-of-art. Amino acid analyses on several samples demonstrated that proteins in the frescoes from the Camposanto Monumentale in Pisa are deteriorated as revealed by the decrease in Met, Lys, and Tyr content and by the presence in all the samples of amino malonic acid as a result of Ser, Phe, and Cys oxidation. Proteomic analysis identified deamidation at Asn and Gln as a further major event occurred. This work paves the way to the exploitation of proteomic strategies for the investigation of the molecular effects of aging and deterioration in historical objects. Results show that proteomic searches for deamidation by liquid chromatography-tandem mass spectrometry (LC-MS/MS) could constitute a routine analysis for paintings or any artistic and historic objects where proteins are present. Peptides that can be used as molecular markers when casein is present were identified.

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