The Kinetics of Fading: Opaque Paint Films Pigmented with Alizarin Lake and Titanium Dioxide

Johnston-Feller, Ruth; Feller, Robert L.; Bailie, Catherine; Curran, Mary

doi:10.1179/019713684806028269

Cited by 20 publications

(14 citation statements)

References 7 publications

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“…Artist paint manufacturer Talens, for instance, switched to rutile for oil paints only in the 1990's and still uses anatase for gouache today [27]. The motivation for the switch in oil paints was partly based on artists complaining about discoloration of mixtures of titanium white and alizarin lake [28,29].…”

Section: Pigmentsmentioning

confidence: 99%

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

Driel

Kooyman

Berg

et al. 2016

Microchemical Journal

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Titanium dioxide is the most abundantly used white pigment of the 20th century. The pigment is still in use, both in the production of contemporary art and for the conservation of older artwork as a retouching pigment. Unfortunately, next to its positive characteristics, the pigment has one major potential drawback: its photocatalytic activity that can cause degradation of artworks in which it is used. In this paper, we report on a new method to test the photocatalytic activity of different quality grades of titanium dioxide white pigments. This can be done quantitatively in a chemical lab or qualitatively in a quick and easy way, in a museum or artists' studio, with limited use of lab equipment. The photocatalytic degradation of an organic dye, acid blue 9, in an aqueous solution containing titanium dioxide, is followed over time by means of UV-Vis spectrophotometry. Dye solutions containing pigments with high photocatalytic activity lose their color within several hours of UVA exposure. On the other hand, dye solutions containing UV-stable titanium dioxide do not degrade within 24 h of UVA exposure. Insight in the photocatalytic activity of titanium white pigments, which can be obtained with this novel test, is of great importance for preventive conservation of modern art.

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Section: Pigmentsmentioning

confidence: 99%

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

Driel

Kooyman

Berg

et al. 2016

Microchemical Journal

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“…In general, the degradation reactions are caused by radicals formed on the TiO 2 surface [18][19][20]. Photocatalytic reactions can cause alteration of surrounding pigments, such as the fading of Prussian blue or alizarin lake (Scheme 1, process 1) [21][22][23]. On the other hand, degradation of the paint binder can occur by extensive cross-linking, causing embrittlement [16,24] mainly visible in the form of cracks, or by degradation into volatile components (Scheme 1, process 2 and 3).…”

Section: Introductionmentioning

confidence: 99%

Determination of early warning signs for photocatalytic degradation of titanium white oil paints by means of surface analysis

Driel

Wezendonk

Berg

et al. 2017

Spectrochimica Acta Part A: Molecular and Biomolecular Spectros

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Titanium white (TiO) has been widely used as a pigment in the 20th century. However, its most photocatalytic form (anatase) can cause severe degradation of the oil paint in which it is contained. UV light initiates TiO-photocatalyzed processes in the paint film, degrading the oil binder into volatile components resulting in chalking of the paint. This will eventually lead to severe changes in the appearance of a painting. To date, limited examples of degraded works of art containing titanium white are known due to the relatively short existence of the paintings in question and the slow progress of the degradation process. However, UV light will inevitably cause degradation of paint in works of art containing photocatalytic titanium white. In this work, a method to detect early warning signs of photocatalytic degradation of unvarnished oil paint is proposed, using atomic force microscopy (AFM) and X-ray photoelectron spectroscopy (XPS). Consequently, a four-stage degradation model was developed through in-depth study of TiO-containing paint films in various stages of degradation. The XPS surface analysis proved very valuable for detecting early warning signs of paint degradation, whereas the AFM results provide additional confirmation and are in good agreement with bulk gloss reduction.

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“…5 ChemEng, University of Cape Town, Private Bag X3, Rondebosch 7701, South Africa. 6 Materials for Arts and Archeology Delft, 3ME, TU Delft, Mekelweg 2, 2628 CD Delft, The Netherlands.…”

Section: Authors' Contributionsmentioning

confidence: 99%

“…Especially the early pigments exhibited undesirably high photocatalytic activity [4,5]. The photocatalytic activity of titanium white pigments can lead to several degradation phenomena, such as the breakdown of the binding medium leading to chalking, or the degradation of colored pigments [1,6,7]. Photocatalytic degradation occurs when UV excitation of an electron leads to radical formation at the pigment surface.…”

Section: Introductionmentioning

confidence: 99%

Investigating the effect of artists’ paint formulation on degradation rates of TiO2-based oil paints

et al. 2018

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This study reports on the effect of artists' paint formulation on degradation rates of TiO 2 -based oil paints. Titanium white oil paint exists in a multitude of different recipes, and the effect of the formulation on photocatalytic binder degradation kinetics is unknown. These formulations contain, among others, one or both titanium dioxide polymorphs, zinc oxide, the extenders barium sulfate or calcium carbonate and various additives. Most research performed on the photocatalytic degradation process focusses on pure titanium white-binder mixtures and thus does not take into account the complete paint system. Since photocatalytic oil degradation is a process initiated by the absorption of UV light, any ingredient or combination of ingredients influencing the light scattering and absorption properties of the paint films may affect the degradation rate. In this study three sets of experiments are conducted, designed using the design of experiments (DoE) approach, to screen for the most important formulation factors influencing the degradation rate. The benefits of using DoE, compared to a more traditional 'one factor at a time approach' are robustness, sample efficiency, the ability of evaluate mixtures of multiple components as well as the ability to evaluate factor interactions. The three sets of experiments investigate (1) the influence of the TiO 2 type, (2) the impact of different mixtures of two types of TiO 2 , ZnO and the additive aluminum stearate and (3) the influence of common extenders in combination with photocatalytic TiO 2 , on the photocatalytic degradation of the oil binder. The impact of the formulation on the degradation rate became apparent, indicating the shortcoming of oversimplified studies. The protective effect of photostable TiO 2 pigments, even in a mixture with photocatalytic TiO 2 pigments, as well as the negative effect of extenders was demonstrated. Furthermore, the ambiguous role of ZnO (photocatalytic or not) and aluminum stearate is highlighted. Neither can be ignored in a study of degradation behavior of modern oil paints and require further investigation.

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The Kinetics of Fading: Opaque Paint Films Pigmented with Alizarin Lake and Titanium Dioxide

Cited by 20 publications

References 7 publications

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

A quick assessment of the photocatalytic activity of TiO2 pigments — From lab to conservation studio!

Determination of early warning signs for photocatalytic degradation of titanium white oil paints by means of surface analysis

Investigating the effect of artists’ paint formulation on degradation rates of TiO2-based oil paints

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