The identification of synthetic organic pigments in modern paints and modern paintings using pyrolysis-gas chromatography–mass spectrometry

Russell, Joanna E.; Singer, Brian; Perry, Justin J.; Bacon, Anne Marie

doi:10.1007/s00216-011-4822-9

Cited by 68 publications

(44 citation statements)

References 24 publications

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“…In addition, 2-naphthol and 4-methyl-5-nitro-benzenamine were also detected. These pyrolysis products can be related to the presence of the organic pigment PR3 [24,25]. The pyrolysis profile of sample 1 was also characterized by the presence of different species characterized by a mass spectrum with m/z 73, 147, 221, and 281 as common ions, characteristic of the pyrolysis of a siloxane resin [26].…”

Section: Collingwood Mural (1984)mentioning

confidence: 99%

A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques

Nasa

Orsini

Degano

et al. 2016

Microchemical Journal

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Section: Collingwood Mural (1984)mentioning

confidence: 99%

A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques

Nasa

Orsini

Degano

et al. 2016

Microchemical Journal

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“…Samples marked with an asterisk were also analysed by Raman spectroscopy, XRF and mid-IR, and the results are reported in [26] synthetic dyes and pigments [32], and was preferred over alkaline or acidic extraction solvents in order not to alter the composition of the components of the pigments. The solubilisation of the powders in DMSO was complete, while the extraction from the paint materials was incomplete, but sufficient for the qualitative interpretation of their composition.…”

Section: Apparatus and Protocolmentioning

confidence: 99%

“…Whenever sampling has been permitted, analytical pyrolysis coupled with gas chromatography-mass spectrometry (Py-GC/MS) [1,[29][30][31][32] has been successfully applied. Direct temperature mass spectrometry (DTMS) [25,33,34] and laser desorption mass spectrometry (LDMS) [34,35] have also been used, but have not yielded positive identification when isomers are present, which is often the case when organic pigments are concerned.…”

Section: Introductionmentioning

confidence: 99%

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

et al. 2017

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The characterisation of atelier materials and of the historical commercial formulation of paint materials has recently gained new interest in the field of conservation science applied to modern and contemporary art, since modern paint materials are subjected to peculiar and often unpredictable degradation and fading processes. Assessing the composition of the original materials purchased by artists can guide not only their identification in works of art, but also their restoration and conservation. Advances in characterisation methods and models for data interpretation are particularly important in studying organic coloring materials in the transition period corresponding to the late 19th-early 20th century, when many such variants or combinations were hypothetically possible in their formulations. There is thus a need for reliable databases of materials introduced in that period and for gaining chemical knowledge at a molecular level related to modern organic pigments, by state-of-the-art protocols. This paper reports on the results of a study on 44 samples of historical colorants in powder and paint tubes, containing both lake pigments and synthetic organic pigments dating from 1890 to 1926. The samples were collected at the Lefranc Archive in Le Mans (France) as a part of Project Futurahma "From Futurism to Classicism (1910Classicism ( -1922. Research, Art History and Material Analysis", (FIRB2012, Italian Ministry of University and Research), and were investigated using an analytical approach based on chromatographic and mass spectrometric techniques. The focus of the chemical analyses was to reveal the composition of the historical organic lake pigments including minor components, to discriminate between different recipes for the extraction of chromophore-containing molecules from the raw materials, and ultimately to distinguish between different formulations and recipes. High performance liquid chromatography (HPLC) with diode array detector (DAD) or electrospray-Quadrupole-Time of Flight tandem mass spectrometry detector (ESI-Q-ToF) were chosen given their considerable capacity to identify such complex and widespread organic materials. Although the inorganic components of the pigments were not taken into account in this survey, the specific molecular profiles provided invaluable information on the extraction procedures or synthetic strategy followed by the different producers, at different times. For instance, the use of Kopp's purpurin and garancine was highlighted, and synthetic by-products were identified. The results provided evidence that the addition of synthetic organic pigments to paint mixtures started from 1910 onwards, but they also suggest that in the formulation of high quality (surfin) colorants, natural products were still preferred. Moreover, in one of the samples the use of murexide as the colouring material was confirmed. This paper presents the first systematic and comprehensive survey on organic lakes and pigments belonging to an historical archive, by both HPLC-DAD and HPLC-ES...

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“…These connections continue to be the subject of our publications (Russell, 2010;Russell et al, 2011Russell et al, , 2012.…”

Section: Discussionmentioning

confidence: 78%

“…A distinction is made between the 'intimacy' of the figure with a 'stark' background, reflected by this choice of material (Sylvester, 1993, p. 120). It is possible, that by acrylic paints, he was referring to household emulsions which we have found in the backgrounds of several paintings, one example of which we previously reported (Russell et al, 2011). Very few artists' acrylics were found in the studio.…”

Section: Paint Tinsmentioning

confidence: 88%

Investigation of the materials found in the studio of Francis Bacon (1909–1992)

Russell

Singer

Perry

et al. 2012

Studies in Conservation

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The investigation of materials found in Bacon's studio is reported. The contents of the studio are examined and interpreted to identify the materials and colours most favoured by Bacon, and the range of media used. A small number of colours appear to have been heavily used. Some objects used as tools in the painting process are also investigated and explain textures seen in paint in his works. Samples of selected materials from the studio are analysed to identify the components of paints (pigments, extenders, and binders) used by Bacon. This investigation is part of a wider project examining his materials and techniques. The analytical information obtained here from the studio helps to clarify the statements made by Bacon in interviews regarding his use of materials and is proving useful in the identification of materials in his paintings, in order to help with the conservation and authentication of his works.

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The identification of synthetic organic pigments in modern paints and modern paintings using pyrolysis-gas chromatography–mass spectrometry

Cited by 68 publications

References 24 publications

A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques

A chemical study of organic materials in three murals by Keith Haring: A comparison of painting techniques

HPLC-DAD and HPLC-ESI-Q-ToF characterisation of early 20th century lake and organic pigments from Lefranc archives

Investigation of the materials found in the studio of Francis Bacon (1909–1992)

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