Rediscovering Ducos du Hauron's Color Photography through a Review of His Three‐Color Printing Processes and Synchrotron Microanalysis of His Prints

Cotte, Marine; Fabris, Tiphaine; Langlois, Juliette; Bellot‐Gurlet, Ludovic; Ploye, Françoise; Coural, Natalie; Boust, Clotilde; Gandolfo, Jean-Paul; Galifot, Thomas; Susini, J.

doi:10.1002/anie.201712617

Cited by 3 publications

(3 citation statements)

References 6 publications

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“…Our findings have important implications for the assessment of the degradation phenomenon of lead chromate-based pigments in artworks. We know that not only drying oils but also other types of binding media, including gums, waxes, as well as oleoresinous and proteinaceous materials, − were frequently employed as binding media for chrome yellows. Thus, it becomes relevant to pay attention not only to the Cr/S stoichiometry and crystalline structure of the chrome yellow pigment but also to the chemical nature of the binder that is mixed with it.…”

Section: Discussionmentioning

confidence: 99%

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO₄/PbCr_1–xS_xO₄)

et al. 2019

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The darkening due to chemical alteration of chrome yellows (PbCrO 4 /PbCr 1−x S x O 4 ) is a phenomenon threatening a large number of 19th−20th century paintings, including the Amsterdam Sunf lowers by Vincent van Gogh. Our earlier studies have proven that the alteration is due to a Cr(VI) → Cr(III) reduction with Cr(V)-species that are formed as long-lived intermediates and that PbCr 1−x S x O 4 (0 < x ≤ 0.8) types undergo reduction more readily than monoclinic, S-free, PbCrO 4 . In this context, there is still lack of knowledge about the effects of the chemical properties of the binding medium (i.e., chemical composition and drying process) and the solubility of chrome yellows on the overall reduction pathways. Here, we study a series of naturally and photochemically aged mock-up paints prepared by mixing chrome yellow powders (PbCrO 4 /PbCr 0.2 S 0.8 O 4 ) with either linseed oil or a water-based acrylic emulsion as the binding medium. Equivalent paints made up of the highly soluble K 2 CrO 4 were also investigated and used as benchmarks to provide a more in-depth understanding of the influence of the solubility on the chromate reduction pathways in the two different binders. A combination of synchrotron radiation-based Cr K-edge X-ray absorption near edge structure (XANES), electron paramagnetic resonance (EPR), and UV− Visible spectroscopy measurements shows that: (1) the Cr(VI) reduction results from the interaction between the pigment and the binder; (2) the process is more significant in oil, giving rise to Cr(V)-and Cr(III)-species as well as oxidized organic compounds; (3) the lightfastness of the chrome yellow pigment is enhanced in the acrylic binder; and (4) the tendency toward chromium reduction increases with increasing solubility of the pigment. Based on our findings, we propose a scheme for the mechanism of the (photo)reduction process of chrome yellows in the oil and acrylic binder. Overall, our results provide new insights into the factors driving the degradation of lead chromate-based paints in artworks and contribute to the development of strategies for preserving them over time.

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Section: Discussionmentioning

confidence: 99%

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO₄/PbCr_1–xS_xO₄)

et al. 2019

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“…Advances in physics of light during the XIX th century helped to develop some of the most interesting photographic processes such as Ducos du Hauron's three colour process, or Gabriel Lippmann's process of interferential photography . Conversely, the use of silver halides in photography since the first half of the XIX th century led to intense research on their physico‐chemical properties and their interaction with photolytic silver nanoparticles .…”

Section: Introductionmentioning

confidence: 99%

Spectroscopies and Electron Microscopies Unravel the Origin of the First Colour Photographs

et al. 2020

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The first colour photographs were created by ap rocess introduced by Edmond Becquerel in 1848. The nature of these photochromatic images colours motivated ad ebate between scientists during the XIX th century,w hich is still not settled. We present the results of chemical analysis (EDX, HAXPES and EXAFS) and morphology studies (SEM, STEM) aiming at explaining the optical properties of the photochromatic images (UV-visible spectroscopya nd low loss EELS). We rule out the two hypotheses (pigment and interferences) that have prevailed since 1848, respectively based on variations in the oxidation degree of the compound forming the sensitized layer and periodically spaced photolytic silver planes.Astudy of the silver nanoparticles dispersions contained in the coloured layers showed specific localizations and sizes distributions of the nanoparticles for each colour. These results allowustoformulate aplasmonic hypothesis on the origin of the photochromatic images colours.

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“…Advances in physics of light during the XIX th century helped to develop some of the most interesting photographic processes such as Ducos du Hauron's three colour process [1] , or Gabriel Lippmann's process of interferential photography. [2] Conversely, the use of silver halides in photography since the first half of the XIX th century led to intense research on their physico-chemical properties and their interaction with photolytic silver nanoparticles.…”

Section: Introductionmentioning

confidence: 99%

Spectroscopies and Electron Microscopies Unravel the Origin of the First Colour Photographs

et al. 2020

View full text Add to dashboard Cite

The first colour photographs were created by a process introduced by Edmond Becquerel in 1848. The nature of these photochromatic images colours motivated a debate between scientists during the XIXth century, which is still not settled. We present the results of chemical analysis (EDX, HAXPES and EXAFS) and morphology studies (SEM, STEM) aiming at explaining the optical properties of the photochromatic images (UV‐visible spectroscopy and low loss EELS). We rule out the two hypotheses (pigment and interferences) that have prevailed since 1848, respectively based on variations in the oxidation degree of the compound forming the sensitized layer and periodically spaced photolytic silver planes. A study of the silver nanoparticles dispersions contained in the coloured layers showed specific localizations and sizes distributions of the nanoparticles for each colour. These results allow us to formulate a plasmonic hypothesis on the origin of the photochromatic images colours.

show abstract

Rediscovering Ducos du Hauron's Color Photography through a Review of His Three‐Color Printing Processes and Synchrotron Microanalysis of His Prints

Cited by 3 publications

References 6 publications

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO₄/PbCr_1–xS_xO₄)

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO₄/PbCr_1–xS_xO₄)

Spectroscopies and Electron Microscopies Unravel the Origin of the First Colour Photographs

Spectroscopies and Electron Microscopies Unravel the Origin of the First Colour Photographs

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Rediscovering Ducos du Hauron's Color Photography through a Review of His Three‐Color Printing Processes and Synchrotron Microanalysis of His Prints

Cited by 3 publications

References 6 publications

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO4/PbCr1–xSxO4)

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO4/PbCr1–xSxO4)

Spectroscopies and Electron Microscopies Unravel the Origin of the First Colour Photographs

Spectroscopies and Electron Microscopies Unravel the Origin of the First Colour Photographs

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Product

Resources

About

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO₄/PbCr_1–xS_xO₄)

Disclosing the Binding Medium Effects and the Pigment Solubility in the (Photo)reduction Process of Chrome Yellows (PbCrO₄/PbCr_1–xS_xO₄)