The degradation of oil painted copper surfaces

Pavlopoulou, Lydia-Chara; Watkinson, David H.

doi:10.1179/sic.2006.51.supplement-1.55

Cited by 18 publications

(20 citation statements)

References 45 publications

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“…However, depending on the options of the painter at the time, its use should not be totally ruled out. As for the pictorial layers, these were usually composed of natural (obtained from minerals, natural earths, plants, or insects) or synthetic pigments and a binder, notably linseed oil …”

Section: Introductionmentioning

confidence: 99%

Pigment analysis of Portuguese portrait miniatures of 17th and 18th centuries by Raman Microscopy and SEM‐EDS

Veiga

Mirão

Candeias

et al. 2014

J Raman Spectroscopy

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Seventeen Portuguese miniature portraits on copper support from the Évora Museum collection (Portugal) were analyzed in situ and nondestructively by Raman microscopy (RM), SEM-EDS, and stereomicroscopy. This work constitutes a great breakthrough in the study of miniature paintings from the 17 th and 18 th centuries, since the chemical information known about this unique kind of paintings are still scarce, and in particular, this exclusive collection was never been subjected to any physicochemical study. In this work, each portrait was examined in detail in order to characterize the pigments palette used by the miniaturists. The μ-Raman analysis, in particular, guaranteed an exceptional visualization and good individual identification of small grains of pigments and other constituents of the pictorial layer. Using this technique, 19 compounds were identified, including bluish black covellite, a pigment rarely found in oil paintings. SEM-EDS was used as an important complementary technique to confirm the chemical nature of some pigments and to identify shell gold (gold dust) in some portraits. Overall, the pigments identified in this large set of old paintings are broadly consistent with those mentioned in the painting treatises of that time or reported in other more modern bibliographic sources.

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Section: Introductionmentioning

confidence: 99%

Pigment analysis of Portuguese portrait miniatures of 17th and 18th centuries by Raman Microscopy and SEM‐EDS

Veiga

Mirão

Candeias

et al. 2014

J Raman Spectroscopy

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“…The presence of metal soaps at the paint/copper interface is due to the interaction between the fatty acid of the binder and the metal ions of the substrate. Therefore, as suggested by other authors (Low et al, 1967;Pavlopoulou and Watkinson, 2006;Casadio et al, 2019), the formation of this corrosion product has to be expected in this kind of artifacts and possibly monitored in order to avoid brittleness of the paint film.…”

Section: Paint Layersmentioning

confidence: 79%

Multi-Spectroscopic Approach for the Non-invasive Characterization of Paintings on Metal Surfaces

et al. 2020

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The aim of this study is to propose a non-invasive multi-spectroscopic approach for the characterization of oil painting artworks that use a copper plates as substrate in place of a canvas. Indeed, in the last decade, many studies have been conducted on artworks made of single materials (e.g., paintings, stones, metals). However, the characterization and conservation of composite artifacts has never be fully investigated even though many masterpieces were created using this particular technique. In this work, several spectroscopic techniques such as Infrared Spectroscopy (FTIR), Energy-Dispersive X-Ray Fluorescence spectroscopy (EDXRF), and high spatial resolution Field Emission Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy (EDS), and Optical Microscopy (OM) were performed. The obtained results allowed to fully characterize the micro-chemical and microstructural features of the painted surfaces and of the metal plate. Particularly effective was the use of MA-XRF, resulting in the chemical map of the painted surfaces. Furthermore, traces of the mechanical preparation of the plate were found under the painted layers. Finally, the interface area between the paint film and the metallic support was characterized at a micro scale. This was particularly important in order to identify the degradation products formed by the interaction between the fatty acids of the binder and copper-based substrates.

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“…Pintura sobre cobre: investigación sobre materiales y técnicas de aplicación de la capa de preparación 33 función de la capa de oleatos de cobre es controvertida, ya que se piensa que tanto es responsable de favorecer los mecanismos físicos y químicos que permiten la adhesión del estrato pictórico al soporte en una fase inicial de ejecución de la obra, así como también estar relacionada con los fenómenos que provocan el destacamento de la policromía durante el envejecimiento de los materiales constituyentes de la pintura [51,53]. Siendo de importancia su consideración durante la fase de tratamiento de este tipo de obras, por ejemplo durante la limpieza química, donde algunos solventes con alto poder de penetración son capaces de degradar parte de esta capa, fragilizando la película pictórica.…”

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“…Bandas características de los pigmentos identificados por µ-Raman [44][45][46] Es importante notar que en los cortes estratigráficos es posible identificar un estrato transparente verde por debajo de la preparación, que se piensa ser constituidas por oleatos de cobre originados de la interacción del aglutinante oleoso utilizado en la ejecución de este tipo de pinturas con la lámina metálica [5,9,51,53]. La …”

Section: Tablaunclassified

Painting on copper: research on the materials and techniques used on ground layer according to historical treatises and analytical study of two paintings attributed to the Portuguese and Flemish schools

Vega¹,

Cardoso²,

Carlyle³

2018

Cons. Património

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 Artículo / ArtigoPintura sobre cobre: investigação sobre os materiais e técnicas utilizadas na camada de preparação segundo a tratadística e estudo analítico de duas obras atribuídas às escolas portuguesa e flamenga ResumoAs pinturas sobre cobre foram produzidas, essencialmente, ao longo dos séculos XVI e XVII, mas a sua produção nunca cessou por completo, podendo encontrar-se pinturas sobre este tipo de suporte até ao século XX. Neste trabalho procedeu-se ao estudo deste tipo de pinturas segundo duas perspectivas. Por um lado, fez-se o levantamento das fontes documentais com interesse histórico e a sistematização da informação extraída da literatura dos séculos XVII e XVIII. Por outro lado, fez-se o estudo material de duas pinturas que envolveu a caracterização da técnica pictórica por microscopia óptica, a identificação de pigmentos e cargas presentes na camada preparatória por micro-espectroscopia de Raman e o estudo do suporte por estereomicroscopia, radiografia digital e espectrometria de emissão de raios X induzida por partículas (PIXE). Segundo os resultados obtidos, os materiais e as técnicas utilizadas nas duas obras são coerentes com a informação colhida nas 20 fontes literárias estudadas. Universidade NOVA de Lisboa, Campus da Caparica, 2829-516 Caparica, Portugal * d.vega@campus.fct.unl.pt Resumen Las pinturas sobre cobre fueron producidas, principalmente, entre los siglos XVI y XVII. Sin embargo, se pueden encontrar ejemplares de este tipo de obras incluso en el siglo XX. Este trabajo aborda el estudio de este tipo de pinturas desde dos perspectivas diferentes. Desde la Historia del Arte, en la cual se ha sistematizado la información recogida en la literatura entre los siglos XVII y XVIII; y desde el estudio de material, que incluye la caracterización de dos pinturas mediante microscopia óptica, para el estudio de la técnica pictórica; espectroscopia micro-Raman, para la identificación de los pigmentos y cargas presentes en la preparación; y estereomicroscopia, radiografía digital y la técnica PIXE (emisión de rayos X inducidos por partículas), para el estudio del soporte. Este trabajo recoge un estudio bibliográfico de al menos 20 fuentes literarias sobre la técnica de pintura sobre cobre, y un estudio de dos pinturas que demuestra que los materiales y técnicas utilizadas en los dos casos de estudio son coincidentes con las fuentes literarias. Daniel Vega, Isabel Pombo Cardoso, Leslie Carlyle Conservar Património 27 (2018) 24 Palabras-claveConservar Património 27 (2018) 24Painting on copper: research on the materials and techniques used on ground layer according to historical treatises and analytical study of two paintings attributed to the Portuguese and Flemish schools AbstractPaintings on copper were mostly produced from the 16th century until the end of the 17th century. Nevertheless, its production never ceased completely, and examples can be found in the 20th century. This study encompassed two complementary sources of information: historical documentary research, on sources from t...

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The degradation of oil painted copper surfaces

Cited by 18 publications

References 45 publications

Pigment analysis of Portuguese portrait miniatures of 17th and 18th centuries by Raman Microscopy and SEM‐EDS

Pigment analysis of Portuguese portrait miniatures of 17th and 18th centuries by Raman Microscopy and SEM‐EDS

Multi-Spectroscopic Approach for the Non-invasive Characterization of Paintings on Metal Surfaces

Painting on copper: research on the materials and techniques used on ground layer according to historical treatises and analytical study of two paintings attributed to the Portuguese and Flemish schools

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