The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting

Cruz, António João; Melo, Helena Pinheiro de; Valadas, Sara; Miguel, Catarina; Candeias, António

doi:10.3390/heritage5030138

Cited by 3 publications

(1 citation statement)

References 28 publications

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“…In indoor environments, one source is using paints containing arsenic pigments [40]. In the short term, arsenic concentracons may not harm living things.…”

Section: Arsenic Exposure and Attenuationmentioning

confidence: 99%

Phytoreactor for Arsenic Biodetoxification: An Integrated Sequential Process of Phytoremediation Involving Multi-Kingdom Organisms

Ganjar Samudro,

Sarwoko Mangkoedihardjo

2023

ARASET

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Phytoremediation of polluted environments has received attention and developed rapidly in recent decades. Plant performance assessment is conducted around the effectiveness and efficiency of reducing the concentration of pollutants and certain plant-associated organisms. While supporting these advances, this paper aims to develop integrated phytoremediation as a pollutant treatment reactor involving all processes and multi-kingdoms of organisms, referred to as phytoreactor. The data collected comes from the results of previous studies related to various kinds of phytoremediation processes. Screening and selection of data were based on criteria for differences in plant processes, involvement of various plant-associated organisms, and aesthetics. An arsenic pollutant, one of the most toxic metalloids and ubiquitous, the kingdom’s involvement of plant-associated organisms between aboveground and belowground plant parts. A new perspective in phytoremediation is creating a phytoreactor that integrates three sequential processes. Starting with the containment of toxic pollutants, followed by a primary process consisting of physicochemical and biological processes, and completed by a secondary process in plants, which produces nontoxic environmental media conditions. The primary biological processes are carried out in the rhizosphere and phyllosphere. The involvement of the plant-associated organism kingdom is different in the rhizosphere and phyllosphere due to the suitability of the habitat, the type of pollutant, and the aesthetics of the application of the phytoreactor. Phytoreactor for the remediation of polluted environments involves synergistic multi-kingdoms of plant-associated organisms for specific types of pollutants in the rhizosphere and phyllosphere.

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“…In indoor environments, one source is using paints containing arsenic pigments [40]. In the short term, arsenic concentracons may not harm living things.…”

Section: Arsenic Exposure and Attenuationmentioning

confidence: 99%

Phytoreactor for Arsenic Biodetoxification: An Integrated Sequential Process of Phytoremediation Involving Multi-Kingdom Organisms

Ganjar Samudro,

Sarwoko Mangkoedihardjo

2023

ARASET

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Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments

Melo

Valadas

Cruz

et al. 2022

Studies in Conservation

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Discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's The Night Watch: analytical study and historical contextualization

De Keyser,

Broers,

Vanmeert

et al. 2024

Herit Sci

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This article reports on the discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's masterpiece The Night Watch. A large-scale research project named Operation Night Watch was started in 2019. A variety of non-invasive analytical imaging techniques, together with paint sample research, has provided new information about Rembrandt's pigments, materials, and techniques as well as the current condition of the painting. Macroscopic X-ray fluorescence, macroscopic X-ray powder diffraction and reflectance imaging spectroscopy identified the presence of arsenic sulfide pigments and degradation products of these pigments in the doublet sleeves and embroidered buff coat worn by Lieutenant Willem van Ruytenburch (central figure to the right of Captain Frans Banninck Cocq). Examination by light microscopy of two paint samples taken from this area shows a mixture of large sharp-edged tabular yellow and orange to red pigment particles, and scanning electron microscopy-energy dispersive X-ray analysis identified these particles as containing arsenic and sulfur. Using micro-Raman spectroscopy, the yellow particles were identified as pararealgar, and the orange to red particles as semi-amorphous pararealgar. Synchrotron-based X-ray diffraction allowed visualization of the presence of multiple degradation products associated with arsenic sulfides throughout the paint layer. The discovery of pararealgar and semi-amorphous pararealgar is a new addition to Rembrandt's pigment palette. To contextualize our findings and to hypothesize why, how, and where Rembrandt obtained the pigments, we studied related historical sources. A comprehensive review of historical sources gives insight into the types of artificial arsenic sulfides that were available and suggests that a broader range of arsenic pigments could have been available in Amsterdam in the seventeenth century than previously thought. This is supported by the use of a very similar mixture of pigments by Willem Kalf (1619–1693), a contemporary artist based in Amsterdam. Together with the condition of the particles in the paint cross sections, this brings us to the conclusion that Rembrandt intentionally used pararealgar and semi-amorphous pararealgar, together with lead–tin yellow and vermilion, to create an orange paint.

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The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist Painting

Cited by 3 publications

References 28 publications

Phytoreactor for Arsenic Biodetoxification: An Integrated Sequential Process of Phytoremediation Involving Multi-Kingdom Organisms

Phytoreactor for Arsenic Biodetoxification: An Integrated Sequential Process of Phytoremediation Involving Multi-Kingdom Organisms

Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments

Discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's The Night Watch: analytical study and historical contextualization

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