Analysis of painted steel by a hand-held X-ray fluorescence spectrometer

Ida, Hiroyuki; Segawa, Tatsuya; Tohyama, Shigeo; Kawai, Jun

doi:10.1016/j.sab.2004.12.010

Cited by 15 publications

(8 citation statements)

References 13 publications

(13 reference statements)

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“…[23,24] Portable XRF spectrometers have been widely adopted in conservation science for the analysis of art. [25][26][27][28] However, the interpretation of data remains a challenge, and a good understanding of paint and the composition of multi-layered materials is necessary. Indeed, because of the penetrating nature of X-rays, the interpretation of data from layered structures typical for paintings is more complex than other applications such as, for example, the analysis of metal alloys, where it is assumed that elements are uniformly distributed and not stratified.…”

Section: Introductionmentioning

confidence: 99%

Multi‐analytical non‐invasive study of modern yellow paints from postwar Italian paintings from the International Gallery of Modern Art Cà Pesaro, Venice

et al. 2015

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dWe present a multi-analytical non-invasive approach for the characterisation of yellow paints used in three paintings from the International Gallery of Modern Art Cà Pesaro, Venice. The paintings selected for this study were executed in oil-based media between 1940 and 1960, they are unvarnished and have large monochromatic yellow areas. We focus on the identification of yellow pigments with a combined approach based on non-invasive portable X-ray Fluorescence spectrometry, complemented with VIS reflectance, remote-Fourier Transform Infrared and Raman spectroscopies. Different yellow pigments including Chrome yellow Naples Yellow and Cadmium-based yellow were identified. Their identification is of fundamental importance because several modern inorganic yellow pigments (in particular chrome and cadmium-based pigments) are known to exhibit peculiar degradation patterns, leading to noteworthy aesthetic changes in paint such as darkening and fading. This work highlights the suitability of non-destructive techniques for the characterisation of modern paints and the utility of an integrated approach to obtain useful information for preventive conservation. Results demonstrate the need to complement elemental data acquired using portable X-ray Fluorescence with suitable complementary molecular spectroscopic techniques.

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Section: Introductionmentioning

confidence: 99%

Multi‐analytical non‐invasive study of modern yellow paints from postwar Italian paintings from the International Gallery of Modern Art Cà Pesaro, Venice

et al. 2015

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“…In particular, this study through a systematic analysis of the ratio of the X‐ray peaks of the various detected elements and, more specifically, of the L lines of heavy elements, such as lead, and K lines gives important information on the various pigment layers and their composition . The ratios of the Pb and Fe lines with respect to gold L α lines are listed in Table ; if an element belongs to the gold layer, then its ratio with respect to gold should remain approximately constant . From the ratio values in Table , it may be deduced that, probably, none of the elements essentially belongs to the gilding layer.…”

Section: Resultsmentioning

confidence: 99%

“…It is well known that the intensity ratio becomes higher as the thickness layer increases because the attenuation coefficient of the K α ( L α ) line is larger than that of the K β ( L β ) line . It is worthy to point out that this consideration is only valid for the ratios K β / K α or L β / L α .…”

Section: Resultsmentioning

confidence: 99%

“…[20][21][22] The ratios of the Pb and Fe lines with respect to gold L a lines are listed in Table 4; if an element belongs to the gold layer, then its ratio with respect to gold should remain approximately constant. [17,18,20,21,27] From the ratio values in Table 4, it may be deduced that, probably, none of the elements essentially belongs to the gilding layer. In addition, the Ca ratio with respect to Au gives information about the constant thickness of the gilding layer because the highest contribution of calcium comes from the preparation layer.…”

Section: Wileyonlinelibrarycom/journal/xrsmentioning

confidence: 99%

“…It is well known that the intensity ratio becomes higher as the thickness layer increases because the attenuation coefficient of the K a (L a ) line is larger than that of the K b (L b ) line. [19,27] It is worthy to point out that this consideration is only valid for the ratios K b /K a or L b /L a . Moreover, it can be noted that the peak intensity ratios of the K lines of iron and L lines of lead have similar values for all investigated works of art.…”

Section: Wileyonlinelibrarycom/journal/xrsmentioning

confidence: 99%

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Gilding and pigments of Renaissance marble of Abatellis Palace: non‐invasive investigation by XRF spectrometry

et al. 2012

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Most of the artworks constituting the collection of Renaissance statuary of Abatellis Palace in Palermo (Sicily) show evidence of colour layers and fragments of gold foil that probably once covered the whole marble surface. The restoration of some of these statues has allowed to carry out archaeometric studies about the painting technique and to highlight the original materials and inclusion present on the precious marbles by two famous Italian sculptors of the Renaissance, Francesco Laurana and Antonello Gagini. The measurements have been performed in situ through the integrated use of two non‐invasive techniques: visible fluorescence stimulated by ultraviolet light and X‐ray fluorescence. The ultraviolet‐induced fluorescence analysis has provided additional information on the conservation status of marble surfaces by differentiating the pictorial materials and highlighting the presence of gilding and pigment traces through their characteristic fluorescence response. The observation in ultraviolet light has been used as valuable guide for the identification of the significant points to be analysed by X‐ray fluorescence to characterise the original materials. X‐ray fluorescence measurements have cast light about their chemical composition and stratigraphical structure. Pictorial layers were identified: vermilion for red layers, blue pigment based on copper for blue layers and pure gold leaf for gilding layers. Principal component analysis of the data was capable of clustering the different painting materials, discriminating through their chemical content. The results represent an important scientific support both to the hypotheses about the original look of the artworks and to the resolution of restoration and conservation questions still open. Copyright © 2012 John Wiley & Sons, Ltd.

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