Identification of green pigments and binders in late medieval painted wings from Norwegian churches

Platania, Elena; Streeton, Noëlle L. W.; Lluveras‐Tenorio, Anna; Vila, Anna; Buti, David; Caruso, Francesco; Kutzke, Hartmut; Karlsson, Arne; Colombini, Maria Perla; Uggerud, Einar

doi:10.1016/j.microc.2020.104811

Cited by 16 publications

(12 citation statements)

References 53 publications

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“…In particular, the discrimination of bands associated to metal carboxylates become difficult since the fingerprint area is characterised by peaks overlapping. [90] …”

Section: How To Detect Metal Soapsmentioning

confidence: 99%

“…At the same time, the presence of aged compounds, which can produce fluorescence, may cause several problems in the identification of metal soaps with Raman spectroscopy. In particular, the discrimination of bands associated to metal carboxylates become difficult since the fingerprint area is characterised by peaks overlapping [90] …”

Section: How To Detect Metal Soapsmentioning

confidence: 99%

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A Critical Review on the Analysis of Metal Soaps in Oil Paintings

et al. 2021

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Up to 70 % of the oil paintings conserved in collections present metal soaps, which result from the chemical reaction between metal ions present in the painted layers and free fatty acids from the lipidic binders. In recent decades, conservators and conservation scientists have been systematically identifying various and frequent conservation problems that can be linked to the formation of metal soaps. It is also increasingly recognized that metal soap formation may not compromise the integrity of paint so there is a need for careful assessment of the implications of metal soaps for conservation. This review aims to critically assess scientific literature related to commonly adopted analytical techniques for the analysis of metal soaps in oil paintings. A comparison of different analytical methods is provided, highlighting advantages associated with each, as well as limitations identified through the analysis of reference materials and applications to the analysis of samples from historical paintings.

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“…In particular, the discrimination of bands associated to metal carboxylates become difficult since the fingerprint area is characterised by peaks overlapping. [90] …”

Section: How To Detect Metal Soapsmentioning

confidence: 99%

Section: How To Detect Metal Soapsmentioning

confidence: 99%

A Critical Review on the Analysis of Metal Soaps in Oil Paintings

et al. 2021

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“…In the cultural heritage field, the presence of proteins is often investigated using FT-IR, however, differentiating between animal species is not achievable. Often chromatographic methods are employed for this task [21][22][23][24][25][26][27][28][29][30][31], although techniques such as gas chromatography-mass spectrometry (GC-MS) consumes relatively large amounts of the sample (e.g., 0.1 to 5 mg [32]). Additionally, animal species identification cannot be achieved directly with this technique, hydrolyzation of proteins into amino acids must occur first.…”

Section: Binding Media Of Stave Church Artistsmentioning

confidence: 99%

A Multi-Analytical Approach for the Characterization of Seventeenth Century Decorative Wall Paintings in Two Norwegian Stave Churches: A Case Study at Eidsborg and Heddal, Norway

et al. 2021

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The presented research examines 17th century distemper paint from the polychrome wooden interiors of two Norwegian stave churches: Eidsborg and Heddal. For the first time, the inorganic and organic components of specimens from Eidsborg and Heddal were identified using X-ray Diffraction (XRD), Environmental Scanning Electron Microscopy (ESEM)—Energy Dispersive X-ray Spectroscopy (EDS), Fourier-Transform Infrared (FT-IR) spectroscopy, Enzyme-Linked Immunosorbent Assay (ELISA), and Gas Chromatography-Mass Spectrometry (GC-MS) after derivatization. This multi-analytical approach allowed for the identification of red ochre as the main red pigment within the topcoat (with the possible addition of minium), confirmed that a chalk basecoat was used, and finally permitted the recognition of alteration phases. Markers of proteinaceous material attributed to the use of animal-based glues were detected throughout the stratigraphic layers of both churches, with the addition of linseed oil in some locations. Furthermore, the wood substrate showed markers characteristic of pine tree, with contamination of wood fractions being detected in some of the paint samples from Heddal and Eidsborg. This research has contributed to a better understanding of the current preservation state of Heddal and Eidsborg, and ultimately assisted in developing a deeper comprehension and awareness of materials used in Norwegian stave churches.

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“…[8,9] Furthermore, taking into account the preliminary observations of the paint layer stratigraphy under optical microscopy, spectroscopic analysis sought to identify and discriminate between the original painting materials and those present in the repainting. [9,10] The study's main goals were to document and characterize the complex structural composition of the paint layers; identify the original color palette; and highlight via imaging techniques the possible variations in style and painting technique between the original paint layer and the overpainting. The key aspect of the proposed analytic approach was to link the imaging data from the different spectral regions (UV, VIS, NIR, and X-ray) with the characteristic structure/sequence of the paint layers.…”

Section: Introductionmentioning

confidence: 99%

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

et al. 2021

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This paper presents the results of an in‐depth diagnostic investigation carried out on four Transylvanian icons originally painted at the beginning of the 18th century and entirely repainted later, in 1911. The icons, originating from a wooden church in Alba County (Romania), were investigated by an array of non‐invasive and micro‐invasive techniques that included: multi‐ and hyperspectral imaging, digital radiography, X‐ray fluorescence, and Fourier transform infrared spectroscopy. Combined imaging techniques allowed extraction of information from the original pictorial layer and highlighted the original inscriptions. Spectroscopic analysis carried on micro‐samples identified many traditional pigments used in Byzantine iconography such as: lead white, red lead, orpiment, red ochre, yellow ochre, and umber. The presence of zinc white, Prussian blue, and some chromium‐based pigments in the upper paint layers was directly associated with the repainting. Information on the used painting technique was also obtained, as well as a series of informative technical details that shed light on the complex history of the icons, while offering at the same time new knowledge on the materials and painting techniques used in Transylvanian workshops, between the 18th and 20th century. Overall results allowed characterization and discrimination of the original painting materials and those present in the repainting, and helped conservators with the restoration of the objects.

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Identification of green pigments and binders in late medieval painted wings from Norwegian churches

Cited by 16 publications

References 53 publications

A Critical Review on the Analysis of Metal Soaps in Oil Paintings

A Critical Review on the Analysis of Metal Soaps in Oil Paintings

A Multi-Analytical Approach for the Characterization of Seventeenth Century Decorative Wall Paintings in Two Norwegian Stave Churches: A Case Study at Eidsborg and Heddal, Norway

Unveiling the original layers and color palette of 18th century overpainted Transylvanian icons by combined X‐ray radiography, hyperspectral imaging, and spectroscopic spot analysis

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