Reflection infrared spectroscopy for the non-invasive in situ study of artists’ pigments

Miliani, Costanza; Rosi, Francesca; Daveri, Alessia; Brunetti, Brunetto Giovanni

doi:10.1007/s00339-011-6708-2

Cited by 230 publications

(229 citation statements)

References 38 publications

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“…1b, c). White2, is also characterized by the presence of anhydrite, the anhydrous form of calcium sulfate (CaSO 4 ),whose distinctive infrared signals (the SO 4 2− combination bands in the range 2300-2000 cm −1 , as well as the bending modes in the 700-600 cm −1 range [15]) have been clearly identified in the FTIR spectrum reported in Fig. 1d (red line) where it is compared with a reference spectrum of anhydrite (blue line).…”

Section: White Paintsmentioning

confidence: 99%

Disclosing Jackson Pollock’s palette in Alchemy (1947) by non-invasive spectroscopies

et al. 2016

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Alchemy (1947, Peggy Guggenheim Collection, Venice) is one of the most materic works by J. Pollock, whose palette is extensive, ranging from white to yellow, red, green, violet, blue, black, and silver. Each layer of color was laid on top of a previously dried one and effectively separated from the lower one forming a quite complex stratigraphy with colors intersecting each other. In this study, a non-invasive multi-technique method combining point analysis with Vis-NIR multispectral imaging has been exploited to give insights on the painting technique of the American abstract expressionist. The molecular identification of pigments, colorants and extenders contained in fifteen different paints has been achieved combining key spectral markers from elemental, electronic and vibrational spectroscopies. For those colors exhibiting similar hues but different chemical compositions, a mapping procedure based on false color rendering, obtained by properly mixing three spectral planes from the Vis-NIR multispectral imaging set, has been successfully applied. Relevant for the understanding of the evolution of Pollock's drip technique is the identification of both traditional oil-based paints and oil-modified alkyd media. Point analysis by reflection FTIR scattered throughout the painting enabled mapping the distinct use of traditional and new binding media among painted, squeezed and dripped paints.

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Section: White Paintsmentioning

confidence: 99%

Disclosing Jackson Pollock’s palette in Alchemy (1947) by non-invasive spectroscopies

et al. 2016

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“…This is because FTIR reflectance results in a combination of reflection and transmission/absorbance FTIR spectra, which is not always as easy to interpret. However, the increasing availability of portable spectrometers, and the possibility to use reflectance FTIR spectroscopy as non-invasive tool in heritage studies, have resulted in a number of in situ FT-IR reflectance studies on heritage building material, pigments in wall paintings and synthetic alteration of artefacts (Arrizabalaga et al, 2015;Miliani et al, 2012 ;Conti et al, 2013). As far as we can ascertain, this is the first reported use of a portable reflectance FTIR instrument used for the analyses of rock art.…”

Section: Ft-ir Spectroscopymentioning

confidence: 99%

Characterising pigments on 30 000-year-old portable art from Apollo 11 Cave, Karas Region, southern Namibia

Rifkin

Prinsloo

Dayet³

et al. 2016

Journal of Archaeological Science: Reports

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As an unambiguous indication of complex cognitive capacity, representational art presents explicit evidence for modern and symbolic human behaviour. The only examples of African figurative art dating to the Late Pleistocene comprise seven stone plaques recovered from Apollo 11 Cave in the Huns Mountains, southern Namibia. The plaques derive from a single anthropogenic layer dated by radiocarbon ( 14 C) accelerator mass spectrometry (AMS) and optically simulated luminescence (OSL) methods to c. 30 000 years ago. We present the results of digital (CIE) L*a*b* colourimetric and portable energy dispersive X-ray fluorescence (ED-XRF), Raman spectroscopic and Fourier transform infrared reflectance (FT-IR) analyses of the pigments present on the plaques. These results provide the earliest direct evidence, in Africa, for the preparation of pigment-based paint-like mixtures and their application to create prehistoric art. Our research shows that in the creation of the depictions on the plaques, the artists used black pigments derived from manganese and charcoal, red pigments likely derived from ocherous shale and white pigments possibly derived from ostrich eggshell. Additionally, these plaques provide unique evidence for the combined use of mineral-and carbon-based pigment 'crayons' during the African Middle Stone Age.

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“…For instance, many modern materials composing works of art are inherently unstable and there is the need to early recognize the deterioration reactions in order to apply methods to prevent or delay the decay [1,2].…”

Section: Introductionmentioning

confidence: 99%

The chemical-physical knowledge before the restoration: the case of “The Plague in Lucca”, a masterpiece of Lorenzo Viani (1882–1936)

Grifoni

Briganti²,

Marras³

et al. 2015

Herit Sci

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Background: "The Plague in Lucca", a masterpiece of the contemporary painter Lorenzo Viani, was studied by multianalytical techniques (Multiband, IR and UV fluorescence imaging, micro-Raman spectroscopy, direct exposure-mass spectrometry, gas chromatography-mass spectrometry and energy dispersive X-ray fluorescence) in view of its restoration at the Gallery of Modern and Contemporary Art (GAMC) of Palazzo delle Muse in Viareggio (Lucca, Italy). The analysis allowed to obtain a better understanding of the artistic technique of the painter and to underline critical conservation aspects.Results: At first, non-invasive techniques, such as the Multiband Imaging, Infrared Reflectometry, UV Fluorescence and X-ray Fluorescence, have been applied in order to characterize the conservation state of the painting surface and determining the more representative zones of the painting for the taking of micro-samples to be analysed in the laboratory. The destructive chemical analysis of these micro-samples, performed using mass (DEMS and GC/MS) and infrared spectroscopy (micro-Raman), permitted to reveal the nature of the organic and inorganic materials present in the painting. Conclusions:The use of different physical and chemical diagnostic techniques allowed us to obtain precious information about the palette and the technique used by Lorenzo Viani for the realization of "La Peste a Lucca". Furthermore, this approach permit to characterize paintings, to understand the nature and origin of materials used by the artist and to develop the appropriate restoration procedure.

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Reflection infrared spectroscopy for the non-invasive in situ study of artists’ pigments

Cited by 230 publications

References 38 publications

Disclosing Jackson Pollock’s palette in Alchemy (1947) by non-invasive spectroscopies

Disclosing Jackson Pollock’s palette in Alchemy (1947) by non-invasive spectroscopies

Characterising pigments on 30 000-year-old portable art from Apollo 11 Cave, Karas Region, southern Namibia

The chemical-physical knowledge before the restoration: the case of “The Plague in Lucca”, a masterpiece of Lorenzo Viani (1882–1936)

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