A spectrometric and chromatographic approach to the study of ageing of madder (Rubia tinctorum L.) dyestuff on wool

Clementi, Catia; Nowik, Witold; Romani, A.; Cibin, Francesca R; Favaro, Giovanna

doi:10.1016/j.aca.2007.05.036

Cited by 89 publications

(67 citation statements)

References 22 publications

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“…The whole spectra set exhibited quite low intensities, which could be attributed to ageing and related color fading processes, according to Clementi et al [7], or in other cases to the quite high concentration of colorants, as reported by Gulmini et al [11].…”

Section: Vis-reflectance Spectroscopymentioning

confidence: 75%

“…[13] and to ageing processes [14,15], which can also affect the colorants [7,15]; the use of different dyeing techniques and mordants [11,13,16,17] can also act a very important role in affecting FORS spectra. Table 1 reports a summary of possible combinations of dyes and mordants exhibiting different hues.…”

Section: Introductionmentioning

confidence: 99%

“…Reflectance Spectroscopy, especially in the FORS configuration, is a well-established technique for the characterization of natural dyes in artworks: many applications were reported for paintings and frescoes [1][2][3], manuscripts [4,5] and fabrics [6][7][8][9][10][11]; this method is becoming a useful analytical tool for conservation scientists in textiles examination, dyes identification, as testified by the very recent paper by MaynezRojas et al, presenting a complete FORS study for the identification of red dyestuff in historical fabrics [12], and to provide preliminary data useful for developing conservation strategies [10,11]. The FORS technique, totally non-destructive and non-invasive, also allows limiting the sampling.…”

Section: Introductionmentioning

confidence: 99%

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Non-invasive study of natural dyes on historical textiles from the collection of Michelangelo Guggenheim

Ferri

Tripodi

Martignon

et al. 2018

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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a b s t r a c t a r t i c l e i n f oA selection of historical textile fragments from the Venetian art dealer Moisè Michelangelo Guggenheim collection, ranging from XV to XVIII century, has been investigated by means of non-invasive techniques in order to reveal the coloring materials. Imaging was preliminarily used to visually investigate the selected artwork fragments in order to investigate their structure and conservation conditions; Fiber Optics Reflectance Spectroscopy (FORS) allowed recognizing the main natural dyestuffs, such as indigotin and anthraquinones-based compounds, except the yellow ones, difficultly identifiable when using this non-invasive technique. Collected spectroscopic data have been also elaborated by using a clustering algorithm that permitted to group collected spectra on the basis of similar properties and evidencing their inflection point wavelength as the most influencing feature.

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Section: Vis-reflectance Spectroscopymentioning

confidence: 75%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Non-invasive study of natural dyes on historical textiles from the collection of Michelangelo Guggenheim

Ferri

Tripodi

Martignon

et al. 2018

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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“…Según C. Clementi et col. [12] el purpurín es el principal componente de esta planta, responsable de las propiedades cromáticas del rojo de Rubia y, por lo tanto, de su espectro de absorbancia. También lo hace responsable de la alteración de este rojo, siendo la degradación fotoquímica, debido a la exposición a la luz, el factor más importante.…”

Section: A Rojo De Rubiaunclassified

“…En la última década aparecen los primeros estudios sobre la influencia de los factores ambientales en colorantes naturales [9], estudios relativos al envejecimiento acelerado de colorantes usados en documentos gráficos [10,11], donde se describen las variaciones tonales producidas, envejecimiento de sustancias rojas empleadas como tintes en textiles [12,13], degradación de los carotenoides del azafrán [14], y alteraciones de la molécula de índigo, independientemente de su aplicación [15].…”

Section: Introductionunclassified

Identification of colorant materials after an artificially aged process

López-Montes¹,

Dupont²,

Burgos³

et al. 2016

Opt. Pura Apl.

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ABSTRACT:Chemical composition and physical characteristics of art materials (support, paint layer, protection layer…) depend on different factors such as their origin, the application process, the storage conditions throughout the centuries and the ageing processes. The identification of aged organic dyes can be difficult due to the possible changes that their physical and chemical characteristics could have undergone with time. A comparative study between standard samples and samples aged in a controlled climate chamber under drastic conditions of humidity, temperature and light was carried out. The techniques of identification and evaluation used were High Performance Liquid Chromatography (HPLC) and UV-visible spectroscopy. Results showed that the cellulosic fibers confer greater resistance to dyes in all cases.Key words: Colour in art, identification, natural dyes, artificial aged process, conservation. RESUMEN:La composición química y las características físicas de los materiales artísticos (soporte, capa pictórica, capa de protección…) dependen de diferentes factores tales como la fuente de origen, el procedimiento utilizado para su aplicación, las condiciones de almacenamiento a través del tiempo y el proceso de envejecimiento. Se destaca, en este punto, la problemática de la identificación de los colorantes orgánicos después de su envejecimiento, ya que, en muchos casos, pueden haberse modificado sus características físicas o químicas. Para la identificación de los colorantes bajo estas condiciones se realizó un estudio comparativo entre las muestras patrón sin envejecer y las muestras artificialmente envejecidas en una cámara climática, sometiéndolas a condiciones drásticas de humedad, temperatura e iluminación. Las técnicas que se emplearon para identificar y evaluar los cambios sufridos por estos colorantes fueron la cromatografía líquida de alta resolución (HPLC) y la espectroscopía UV-visible. Los resultados demostraron que las fibras celulósicas confieren mayor resistencia a los colorantes en todos los casos.Palabras clave: Color en arte, identificación, colorantes naturales, proceso de envejecimiento artificial, conservación.

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Natural Colorants—Quinoid, Naphthoquinoid, and Anthraquinoid Dyes

Derksen1¹,

Bechtold

2023

Handbook of Natural Colorants

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A spectrometric and chromatographic approach to the study of ageing of madder (Rubia tinctorum L.) dyestuff on wool

Cited by 89 publications

References 22 publications

Non-invasive study of natural dyes on historical textiles from the collection of Michelangelo Guggenheim

Non-invasive study of natural dyes on historical textiles from the collection of Michelangelo Guggenheim

Identification of colorant materials after an artificially aged process

Natural Colorants—Quinoid, Naphthoquinoid, and Anthraquinoid Dyes

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