Raman spectrometry

Gardiner, Derek J.

doi:10.1021/ac00242a017

Cited by 5 publications

(3 citation statements)

References 171 publications

(173 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Non-destructive research on objects of small dimensions can be done directly with new microscopic equipment or by in situ instruments. [7][8][9][10][11][12][13][14][15][16] In situ Raman analysis of larger cultural heritage has been performed by using fiber optic probes, which has some drawbacks, such as spatial resolution. [17][18][19] With the aim to improve the previous issues, one new modification to a laboratory Raman instrument is shown to obtain easy and safe results by transforming a confocal micro-Raman instrument into an in situ instrument to analyze even objects of large size.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Comparative palette characterization of oil‐on‐canvas paintings of two well‐known 19th‐century Colombian artists by confocal Raman spectroscopy

Badillo-Sanchez

Baumann

2016

J Raman Spectroscopy

View full text Add to dashboard Cite

Confocal micro‐Raman spectroscopy has been used for the first time in Colombia to obtain the color palette of two Colombian artists from the 19th century: Jose Maria Espinosa and Epifanio Garay. A new technique to handle and store micro‐samples from oil‐on‐canvas paintings is shown, as well as a technique that allows for direct measurement of the front and back surfaces, and stratigraphic layers of the samples, avoiding the classical embedded resin process, thereby increasing the total area of analysis while decreasing the sample size and preparation time before analysis. Additionally, an optical probe for in situ (on‐site) Raman measurements was developed to non‐destructively analyze large paintings. Raman spectroscopic and additional optical microscopic observation resulted in the accurate identification of the artistic technique and the pictorial palette of both artists by using the proposed techniques. Common pigments, such as vermillion, carbon black, Prussian blue, lead white, as well non‐common pigment as siderite (used as yellow by Espinosa), were clearly identified. These palettes, so far only ascribed to these two artists, were the basis for the authentication of two oil paintings. Copyright © 2016 John Wiley & Sons, Ltd.

show abstract

Section: Introductionmentioning

confidence: 99%

“…Non‐destructive research on objects of small dimensions can be done directly with new microscopic equipment or by in situ instruments . In situ Raman analysis of larger cultural heritage has been performed by using fiber optic probes, which has some drawbacks, such as spatial resolution .…”

Section: Introductionmentioning

confidence: 99%

Comparative palette characterization of oil‐on‐canvas paintings of two well‐known 19th‐century Colombian artists by confocal Raman spectroscopy

Badillo-Sanchez

Baumann

2016

J Raman Spectroscopy

View full text Add to dashboard Cite

show abstract

“…The topics to which Raman spectroscopy is applicable continue to expand and reviews have covered single-crystal studies (22), polysaccharides (23), molecular crystals (14), glasses (25)(26)(27), environmental problems (28), metal cluster compounds (19), iron corrosion (20), and inorganic and organometallic compounds (21)(22)(23)(24)(25). As in the previous review in this series (26), a separate section dealing with solids has not been included as many of the references in this area are more properly considered as solid-state physics. The development of surface-enhanced Raman spectroscopy has been so rapid that this is now more conveniently considered in conjunction with resonance-enhanced Raman studies.…”

mentioning

confidence: 99%