Organic Materials in Art and Archaeology

Colombini, Maria Perla; Modugno, Francesca

doi:10.1002/9780470741917.ch1

Cited by 111 publications

(229 citation statements)

References 146 publications

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“…The P/S ratio is 1.3, value which is conventionally referred to linseed oil [25]; nevertheless, the use of this traditional binder is rather improbable, due to the different behavior shown by the pictorial layer under examination. It is likely that other lipidic binders, exhibiting similar P/S ratio, were employed [4,5,11,21]. In this sample, the sequins appeared not only to be embedded in the pictorial film, but in some places were also embedded in a superficial layer of polyvinyl acetate (PVA)-based adhesive (most likely to be Vinavil ® , produced by the Italian company Montecatini) (Fig.…”

Section: Resultsmentioning

confidence: 99%

“…2b): erucic (13-docosenoic) and gondoic (11-eicosenoic) acids and their oxidation products (13,14-dihydroxydocosanoic acid and 11,12-dihydroxyeicosanoic acid respectively). These unsaturated fatty acids are considered to be bio-markers as they are present only in oils obtained from the seeds of Brassicaceae, such as rapeseed oil [21]. Moreover, the P/S ratios for the pink works are around 3.6 and may refer to the use of rapeseed oil (whose P/S is around 3.5-3.8) as binding media.…”

Section: Resultsmentioning

confidence: 99%

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20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Izzo

Ferriani²,

Berg

et al. 2014

Journal of Cultural Heritage

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a b s t r a c tDuring the 20th century, many innovative binders have been rapidly introduced to the art world and soon became popular as artists' paints and pictorial media. However, despite the advantages that new synthetic materials presented, oil paints have never been entirely substituted. Indeed, this paper focuses on the results provided by the scientific analysis of a group works from the oeuvre of Lucio Fontana , all of which created between 1960 and 1964 using oil-based media, and aims to illustrate how oils contained in the pictorial media have influenced these works' respective ageing and degradation processes. Despite the apparent coherence in the behaviour of many of Fontana's creations, some artworks revealed discrepancies in terms of the physical and mechanical behaviour of the pictorial films and in alterations resulting from degradation processes. Samples taken from case studies belonging to the Olii and Fine di Dio series were analysed using optical microscopy, X-Ray Fluorescence (XRF), FourierTransform Infrared Spectroscopy in attenuated total reflectance (FTIR-ATR) and Gas ChromatographyMass Spectrometry (GC-MS) in order to study and identify the materials employed by the artist and the products of their degradation processes. These analyses gave unexpected but useful results (such as the presence of non-drying or slow-drying oils in the paint formulations) which not only provided us with new insight into the nature of the constituent materials, but also facilitated the elaboration of correct conservation measures and suitable restoration interventions.

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Izzo

Ferriani²,

Berg

et al. 2014

Journal of Cultural Heritage

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“…Abietic, palustric, laevopimaric and neoabietic acids are some of the unoxidized abietanes present in fresh resin, which tend to isomerize producing abietic acid. In atmospheric conditions, abietic acid evolves into more oxidized molecules [5][6][7][8][9], the most oxidized molecule determined so far being 15-hydroxy-7-oxodehydroabietic acid [10,11]. Although pimaranes are more stable, some studies also revealed their diminution during ageing [6,12].…”

Section: Introductionmentioning

confidence: 99%

“…As the verification of specific molecules is a crucial step, this research includes the study of chemical standards of the main compounds and complementary analysis with GC/MS following the analytical methods successfully used in literature [5][6][7][8][9][10][11][12].…”

Section: Introductionmentioning

confidence: 99%

Ageing of resin from Pinus species assessed by infrared spectroscopy

et al. 2016

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Resins obtained from Pinus genus species have been widely used in very different fields throughout history. As soon as they are secreted molecular changes start altering their chemical, mechanical and optical properties. The ageing processes are complex and chemical and structural changes associated to resin degradation are not yet fully known. Many questions still remain open, for instance changes happening in pimaranes, one of the two diterpenoid constituents of the resin.A systematic study of the ageing process of Pinus resins is done through of Fourier Transform Infrared Spectroscopy (FTIR) using chemical standards and complementing obtained results with Gas Chromatography coupled to Mass Spectrometry (GC/MS) analysis when necessary. Moreover, long-term degradation processes are also investigated through the analysis of a selection of dated historical resins. The study overcomes the limitations of GC/MS and brings new information about the reactions and interactions between molecules during Pinus resin ageing process, providing information about bonds affected and unaffected and can be used as specific markers of the degradation and of the resins themselves.

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“…Comprehensive reviews of the field are available in the literature and present a more detailed view of the research published in the last 10 years (1)(2)(3)(4)(5). In particular this chapter does not address advances in the field of ancient DNA research as applied to archaeological residues as this is a separate field outside the scope of this review (1).…”

Section: Introductionmentioning

confidence: 99%

Organic Residues in Archaeology: The Highs and Lows of Recent Research

Steele

2013

ACS Symposium Series

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The analysis of organic residues from archaeological materials has become increasingly important to our understanding of ancient diet, trade and technology. Residues from diverse contexts have been retrieved and analysed from the remains of food, medicine and cosmetics to hafting material on stone arrowheads, pitch and tar from shipwrecks, and ancient manure from soils. Research has brought many advances in our understanding of archaeological, organic residues over the past two decades. Some have enabled very specific and detailed interpretations of materials preserved in the archaeological record. However there are still areas where we know very little, like the mechanisms at work during the formation and preservation of residues, and areas where each advance produces more questions rather than answers, as in the identification of degraded fats. This chapter will discuss some of the significant achievements in the field over the past decade and the ongoing challenges for research in this area.1341280_File000001_20903114.docPrinted 7/19/2013 2

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Organic Materials in Art and Archaeology

Cited by 111 publications

References 146 publications

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

20th century artists’ oil paints: The case of the Olii by Lucio Fontana

Ageing of resin from Pinus species assessed by infrared spectroscopy

Organic Residues in Archaeology: The Highs and Lows of Recent Research

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