A Review of the Classes, Structures, and Methods of Analysis of Synthetic Organic Pigments

Lomax, Suzanne Quillen; Learner, Tom

doi:10.1179/019713606806112540

Cited by 88 publications

(64 citation statements)

References 28 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The Hansa yellows were developed from 1909 onwards, but PY74 has been commercially introduced only since 1957. [7,8] PY83 is a diarylide yellow, a disazo product of 3,3 -dichlorobenzidine with two equivalents of acetoacetarylide. A band at ca 1599 cm −1 , specific to the aromatic ring vibration, dominates the Raman spectrum.…”

Section: Discussionmentioning

confidence: 99%

“…Soon, many other synthetic colorants and pigments were introduced, a still ongoing process that results in thousands of commercially available synthetic organic colorants and pigments. [7,8] Many of them were in the 20th century incorporated into artists' paints. While the discovery date of synthetic organic pigments is frequently well known (in many cases through patents), their first use in artists' paints is less documented and studies investigating the painting palette of the 20th century painters are still too limited to get a better insight into the history of synthetic organic pigments used in artists' paint.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Russian avant‐garde… or not? A micro‐Raman spectroscopy study of six paintings attributed to Liubov Popova

Saverwyns

2010

J Raman Spectroscopy

View full text Add to dashboard Cite

Russian avant-garde is an artistic trend that flourished in Russia from approximately 1900 to 1935. Many artists of the Russian avant-garde -Malevich, Kandinsky, Rodchenko, Popova -became world-famous figures. With the onset of Perestroika, Russian avant-garde art became very popular in the West. The demand was high, prices zoomed and soon the market was flooded by forgeries. A full authentication study of a work of art, including the opinion of an expert, tracing back the provenance of the object and technical analyses, is a labour-intensive and time-consuming task normally reserved only for expensive masterpieces. Yet they are not the only ones to be forged. Clearly, an approach is necessary that can quickly and at a relatively low cost distinguish a copy from an original. Raman spectroscopy was evaluated as a tool for identifying pigments of chronological inconsistency (pigment anachronisms) by analysing six paintings attributed to Liubov Popova, one of the most prominent figures of the Russian avant-garde. The high spatial resolution, the pronounced sensitivity towards synthetic organic pigments and the negligible contribution of the binding media added to the successful identification of the pigments in tiny paint chips taken from the six paintings. Based on the results of especially the synthetic organic pigments identified, the Terminus post quem date could be given, the earliest point in time when the paintings could have been made. Composite spectra, to which several inorganic and/or synthetic organic pigments contribute, could be unravelled making use of dedicated digital libraries. These anachronism studies allowed us to conclude that none of the works could be attributed to Liubov Popova.

show abstract

Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Russian avant‐garde… or not? A micro‐Raman spectroscopy study of six paintings attributed to Liubov Popova

Saverwyns

2010

J Raman Spectroscopy

View full text Add to dashboard Cite

show abstract

“…Early synthetic dyes have been studied extensively [2,[13][14][15][16]. However, relatively little has been published on organic pigments used in paintings-several projects have revealed van Gogh's painting materials in Europe [16,17] and extensive work has been carried out at the Getty Institute for Conservation in the US [18].…”

Section: Introductionmentioning

confidence: 99%

“…Due to the poor solubility of organic lake pigments and synthetic pigments in any medium (including water or organic solvents), the most commonly used approaches for their detection and characterisation exploit Raman spectroscopy or, whenever possible, surface-enhanced Raman spectroscopy (SERS) [18][19][20][21][22][23][24][25][26][27][28], thanks to the availability of dedicated spectral libraries. Whenever sampling has been permitted, analytical pyrolysis coupled with gas chromatography-mass spectrometry (Py-GC/MS) [1,[29][30][31][32] has been successfully applied.…”

Section: Introductionmentioning

confidence: 99%

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

et al. 2017

View full text Add to dashboard Cite

The characterisation of atelier materials and of the historical commercial formulation of paint materials has recently gained new interest in the field of conservation science applied to modern and contemporary art, since modern paint materials are subjected to peculiar and often unpredictable degradation and fading processes. Assessing the composition of the original materials purchased by artists can guide not only their identification in works of art, but also their restoration and conservation. Advances in characterisation methods and models for data interpretation are particularly important in studying organic coloring materials in the transition period corresponding to the late 19th-early 20th century, when many such variants or combinations were hypothetically possible in their formulations. There is thus a need for reliable databases of materials introduced in that period and for gaining chemical knowledge at a molecular level related to modern organic pigments, by state-of-the-art protocols. This paper reports on the results of a study on 44 samples of historical colorants in powder and paint tubes, containing both lake pigments and synthetic organic pigments dating from 1890 to 1926. The samples were collected at the Lefranc Archive in Le Mans (France) as a part of Project Futurahma "From Futurism to Classicism (1910Classicism ( -1922. Research, Art History and Material Analysis", (FIRB2012, Italian Ministry of University and Research), and were investigated using an analytical approach based on chromatographic and mass spectrometric techniques. The focus of the chemical analyses was to reveal the composition of the historical organic lake pigments including minor components, to discriminate between different recipes for the extraction of chromophore-containing molecules from the raw materials, and ultimately to distinguish between different formulations and recipes. High performance liquid chromatography (HPLC) with diode array detector (DAD) or electrospray-Quadrupole-Time of Flight tandem mass spectrometry detector (ESI-Q-ToF) were chosen given their considerable capacity to identify such complex and widespread organic materials. Although the inorganic components of the pigments were not taken into account in this survey, the specific molecular profiles provided invaluable information on the extraction procedures or synthetic strategy followed by the different producers, at different times. For instance, the use of Kopp's purpurin and garancine was highlighted, and synthetic by-products were identified. The results provided evidence that the addition of synthetic organic pigments to paint mixtures started from 1910 onwards, but they also suggest that in the formulation of high quality (surfin) colorants, natural products were still preferred. Moreover, in one of the samples the use of murexide as the colouring material was confirmed. This paper presents the first systematic and comprehensive survey on organic lakes and pigments belonging to an historical archive, by both HPLC-DAD and HPLC-ES...

show abstract

“…Inorganic pigments are increasingly being displaced by synthetic organic pigments and they are now the most important group of pigments in the bright hues of modern artist's paints (Scherrer 2009). The interest in the properties of synthetic organic pigments has increased significantly in recent years, both in the historical (de Keijzer 1988(de Keijzer , 1989(de Keijzer , 1999(de Keijzer , 2002Frowein 2004;Fritsch 2006) and technological context (Lomax 2006;Lutzenberger 2009;Strauss 1984), as well as in relation to the specific requirements of the material analysis (Strauss 1984;Vandenabeele 2000;Kalsbeek 2005;Schäning 2005;Fritsch 2006;Lomax 2006;Ropret 2008;Schulte 2008;Frowein 2004;Scherrer 2009;Fremout 2012). As versatile as the applications of these pigments are, there also are many associated risks.…”

Section: Introductionmentioning

confidence: 99%

Sensitivity of Modern Oil Paints to Solvents. Effects on Synthetic Organic Pigments

Blumenroth

Zumbühl

Scherrer

et al. 2014

Issues in Contemporary Oil Paint

View full text Add to dashboard Cite

Synthetic organic pigments are widely used in contemporary artistsand house paints. They can be found in artworks since 1900. Because of their special particle properties and their solubility in solvents, however, synthetic organic pigments pose a special challenge in conservation treatments. Analyses have been carried out on 23 synthetic organic pigments in oil paint films with six representative solvents. Solubility of the pigments upon solvent exposure has been determined by UV-Vis-spectroscopy. Some pigments have shown high solubility and were even extracted out of the oil paint film. Detailed examination on the influence of pigment extractions from the oil paint film was carried out with light microscopy, Ramanand ATR-FTIR spectroscopy. Swab tests elucidated that all pigments are very sensitive to the combination of (mostly) polar solvents and mechanical stress. The study demonstrates that mechanically applying solvents to paint surfaces containing synthetic organic pigments is delicate due to (a) the solubility of the pigments themselves, (b) mechanical removal of pigment particles -likely supported by the temporary destabilization of the binder. These findings have important implications to conservation practice.

show abstract

A Review of the Classes, Structures, and Methods of Analysis of Synthetic Organic Pigments

Cited by 88 publications

References 28 publications

Russian avant‐garde… or not? A micro‐Raman spectroscopy study of six paintings attributed to Liubov Popova

Russian avant‐garde… or not? A micro‐Raman spectroscopy study of six paintings attributed to Liubov Popova

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

Sensitivity of Modern Oil Paints to Solvents. Effects on Synthetic Organic Pigments

Contact Info

Product

Resources

About