Picasso’s 1917 paint materials and their influence on the condition of four paintings

Multianalytical Assessment of Armour Paints—The Ageing Characteristics of Historic Drying Oil Varnish Paints for Protection of Steel and Iron Surfaces in Sweden

“…According to a derivatisation method already tested on fatty acids from oil-based paints [47,[57][58][59][60][61][62] lipids contained in small amounts of paint samples (weight ranging from 0.10 to 0.20 mg) were transformed into their corresponding methyl esters by a one-step transesterification using 50 µL of m(trifluoromethylphenyl)trimethylammonium hydroxide, 2.5% in methanol, overnight reaction at room temperature. One microliter of each derivatised sample was automatically injected by an autosampler AS1310 (Thermoscientific) in a Trace GC 1300 system (Thermoscientific) equipped with a mass spectrometric detector ISQ 7000 with a quadrupole analyser (Thermoscientific).…”

“…These compounds can form from the lipidic polymerised matrix (upon hydrolysis of the original oil film) and the reaction of (free) fatty acids with cations (generally from pigments and/or additives in paint mixtures). In modern and contemporary oil paint formulations, they are also commonly added as dispersion agents (i.e., aluminium and other metallic stearates) [57,58,61].…”

A Comprehensive and Systematic Diagnostic Campaign for a New Acquisition of Contemporary Art—The Case of Natura Morta by Andreina Rosa (1924–2019) at the International Gallery of Modern Art Ca’ Pesaro, Venice

“…In particular, fluctuations in humidity and temperature and the resulting movements of different compounds in the paints likely played a role. As has been observed by Fuster-López et al on a series of Picasso paintings [30,31], a strong mechanical stress arises when the two opposing forces-of swelling of the hygroscopic materials on the one hand and of confining the space through the limits of the support on the other-collide.…”

“…Other isolated cracks were observed in an area where the painted layer was fairly homogeneous. These have a rounded pattern (Figure 2e) and probably originated due to local impacts of past manipulations [31]. Overall, several craquelures unfolded on the painting, furrowing both the ground and the painted layers, thus constituting an obvious and widespread phenomenon of degradation.…”

Multi-Analytical Assessment of Bodied Drying Oil Varnishes and Their Use as Binders in Armour Paints

“…To fully characterise the organic lipidic fraction and better understand the effect of the ageing conditions on the paint mixtures, GC-MS was applied on both liquid oils and (unaged and aged) solid films. Following a GC-MS procedure already tested on modern lipidic mixtures [14][15][16][17][18][19][20][21], small samples of oil films (weights ranging from 0.10 to 0.20 mg) were treated with 50 µL of m(trifluoromethylphenyl)trimethylammonium hydroxide with 2.5% methanol in an overnight reaction at room temperature. One microlitre of the obtained derivatised solution was automatically injected by an AS1310 autosampler (Thermoscientific, Waltham, MA, USA) in a Trace GC 1300 system-equipped ISQ 7000 MS with a quadrupole analyser (Thermoscientific).…”