Can the Raman spectrum of anatase in artwork and archaeology be used for dating purposes? Identification by Raman microscopy of anatase in decorative coatings on Neolithic (Yangshao) pottery from Henan, China

Clark, Robin J. H.; Wang, Quanyu; Correia, Andreia M.

doi:10.1016/j.jas.2006.12.018

Cited by 60 publications

(26 citation statements)

References 45 publications

(46 reference statements)

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“…While there have been other claims of original titanium dioxide-bearing white pigments on ancient objects, these [40][41][42][43]. In the present case, however, the Raman results corroborate the findings of the other analytical techniques, providing evidence of the use of cristobalite containing a significant, if lesser, amount of natural anatase, possibly from an ore body such as the "Giacomo Deposit".…”

Section: Discussionsupporting

confidence: 82%

The occurrence of a titanium dioxide/silica white pigment on wooden Andean qeros: a cultural and chronological marker

et al. 2018

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A white pigment found on a sub-set of polychromed wooden Andean ritual drinking cups called qeros has been characterized by X-ray diffraction, X-ray fluorescence spectroscopy and Raman spectroscopy as consisting principally of cristobalite (SiO 2 ), anatase (TiO 2 ), and α-quartz (SiO 2 ). This unexpected assemblage of minerals is like that reportedly found in an exposed titanium ore body in southern Peru, an area once part of the Inka Empire. The ore is a close match in color and composition to the white pigment found on the qeros and offers a possible candidate for the geological source of this material. The temporal horizon for the use of this pigment appears to be ca. 1532-1570, correlating with what we refer to here as the Transitional Inka/Early Colonial period, although production of polychromed qeros may have begun before this time and certainly continued well into the eighteenth century or later. Not long after the arrival of the Spanish, this titanium dioxide/silica pigment was replaced by lead white, a result of Spanish influence. We suggest that white pigments on qeros offer material evidence for establishing a chronology for these ritual vessels and that the titanium dioxide/silica pigment on this group of qeros constitutes a previously unidentified, naturally occurring white pigment indigenous to the southern Andes, the first use of which probably dates to the PreColumbian period.

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Section: Discussionsupporting

confidence: 82%

The occurrence of a titanium dioxide/silica white pigment on wooden Andean qeros: a cultural and chronological marker

et al. 2018

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“…Moreover, since many white pigments were readily available, such as lead white, zinc white and calcite, there was no reason for the artist to seek for an (expensive) alternative. [27] Implications on the paintings studied…”

Section: Discussionmentioning

confidence: 99%

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

Saverwyns

2010

J Raman Spectroscopy

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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.

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“…Photographs were captured using an Olympus digital camera (Camedia C-7070) mounted on top of the microscope with an Olympus photographic eyepiece. Raman spectra were also recorded using the normal point-andshoot attachment, as well as the Nuscope attachment with XYZ www.interscience.wiley.com/journal/jrs [15] on the glaze surface and cassiterite, SnO 2 at 635 cm −1 [28,29] on the white slip. Raman spectra were obtained with 514.5 nm excitation, 3 cm −1 resolution (top).…”

Section: Methodsmentioning

confidence: 99%

“…A. van Tilburgh collection, University of Pretoria. Raman spectra obtained on the blue decoration identifying amorphous carbon (1360 and 1590 cm −1 ) [15] on top of the glaze and a new feature around 826 cm −1 that is likely to represent the Delft blue pigment. Spectra were obtained by Raman microscopic profiling [6] using the 50× long working distance (LWD) objective on an XY Dilor Raman spectrometer with 514.5 nm excitation.…”

Section: Introductionmentioning

confidence: 97%

Micro‐Raman and portable Raman spectroscopic investigation of blue pigments in selected Delft plates (17–20th Century)

Waal

2009

J Raman Spectroscopy

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The blue pigment as well as other materials in a blue, white and 'gold' 17th century Delft dish were analysed and compared to the blue pigment(s) used in a modern blue-and-white Delft dish, obtained from a tourist shop in Amsterdam in 2004. The ancient Delft blue pigment was compared to a commercial Delft blue powder identified as a cobalt-doped willemite, Zn 2−x Co x SiO 4 . The 17th century Delft pigment showed a closer correspondence to the olivine, alpha-cobalt silicate. The pigment in the modern blue Delft dish was mainly a vanadium-doped zircon, ZrSiO 4 :V 4+ , with small amounts of cobalt, identified by EDX analysis. The cobalt compound could, however, not be characterised here for the modern dish. The pigment in the 'golden' rim was identified as pyrochlore yellow, PbSnSbO 6.5 .

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Can the Raman spectrum of anatase in artwork and archaeology be used for dating purposes? Identification by Raman microscopy of anatase in decorative coatings on Neolithic (Yangshao) pottery from Henan, China

Cited by 60 publications

References 45 publications

The occurrence of a titanium dioxide/silica white pigment on wooden Andean qeros: a cultural and chronological marker

The occurrence of a titanium dioxide/silica white pigment on wooden Andean qeros: a cultural and chronological marker

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

Micro‐Raman and portable Raman spectroscopic investigation of blue pigments in selected Delft plates (17–20th Century)

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