Direct inlet mass spectrometry for a rapid characterization of indigo in lipidic and proteinaceous matrices

Gómez, Blanca A.; Rodríguez, Diana Castellanos; Careaga, Valeria P.; Siracusano, Gabriela; Maier, Marta S.

doi:10.1016/j.microc.2015.11.006

Cited by 4 publications

(3 citation statements)

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“…According to previous studies, pigments mixed with egg and linseed oil were found in mural paintings of the Andean area, [ 4,6,21 ] suggesting the use of a secco technique for their realization. [ 20 ] In the spectra acquired with the 785‐nm laser, fluorescence was absent; however, the bands appear slightly less resolved, although perfectly identifiable.…”

Section: Resultsmentioning

confidence: 99%

“…[ 28 ] Indigo has been extensively used as a pigment in the colonial art palette, most commonly in mixtures with lead white to obtain different shades of blue and with orpiment (As 2 S 3 ) to produce green colours. [ 4,9,11,29–31 ]…”

Section: Resultsmentioning

confidence: 99%

“…Previous studies carried out on wall paintings in churches of the Silver Route in Chile and Bolivia had shown that the use of a multianalytical approach allowed to obtain detailed information about the materials and the painting techniques employed. [ 4–6 ] One of the most outstanding results was the identification for the first time in colonial art of the use of two basic copper sulfates, antlerite (Cu 3 SO 4 (OH) 4 ) and brochantite (Cu 4 SO 4 (OH) 6 ) as green pigments in samples taken from the wall paintings of the churches of Our Lady of Copacabana de Andamarca in Bolivia and San Andrés de Pachama in Chile. [ 5,6 ] Our interdisciplinary group had previously reported the use of copper‐based green pigments, such as malachite (Cu 2 CO 3 (OH) 2 ), copper resinate and atacamite (Cu 2 Cl(OH) 3 ), together with green earth ( terre verte ) and mixtures of orpiment (As 2 S 3 ) and indigo or Prussian blue (Fe 4 [Fe(CN) 6 ] 3 ) in colonial easel paintings and polychrome sculptures.…”

Section: Introductionmentioning

confidence: 99%

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Identification and characterization of basic copper sulfates as mineral green pigments in Andean colonial mural paintings: Use of temperature‐controlled stage for the study of thermal induced antlerite degradation

Tomasini

Costantini

Landa³

et al. 2021

J Raman Spectroscopy

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This work describes the characterization of green pigments in wall paintings from the Andean churches of San José de Soracachi and Santiago de Callapa in Bolivia, located on an ancient colonial commercial route known as the Silver Route. To approach our goal, microsamples extracted from the mural paintings and mineral samples, from a mine of the same area, were studied by using micro-Raman spectroscopy complemented with micro-energy-dispersive X-ray fluorescence spectroscopy (μ-EDXRF) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS) analysis. The use of gypsum as the preparation layer was detected, and it suggests a secco painting technique. Antlerite, a basic copper sulfate, was identified suggesting a preference for its use as green pigment in the mural paintings of Andean churches that may be related to the local availability of this mineral. Indeed, this study revealed the presence of heterogeneous particles of the basic copper sulfate together with aluminosilicates, quartz and iron oxides among others, which points to a mineral origin of the green pigment because the same compounds were found in the samples taken in the mine. Because a phase transition has been noticed during the Raman analyses, due to a high power of the laser radiation, some tests have been carried out, varying the laser power, and coupling the Raman spectrometer to a temperature-controlled stage to verify under which conditions the degradation of the mineral sample of antlerite occurs

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%