UV–Vis-NIR and micro Raman spectroscopies for the non destructive identification of Cd 1−x Zn x S solid solutions in cadmium yellow pigments

Rosi, Francesca; Grazia, Chiara; Gabrieli, Francesca; Romani, A.; Paolantoni, Marco; Vivani, Riccardo; Brunetti, Brunetto Giovanni; Colomban, Philippe; Miliani, Costanza

doi:10.1016/j.microc.2015.07.025

Cited by 77 publications

(88 citation statements)

References 48 publications

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“…The compact portable instrument designed for non-invasive in situ diagnostic described in [11,12] was used for UV-Vis-NIR reflection and emission measurements. The size of the probe is about 2 mm 2 , corresponding approximately to the achievable spatial resolution.…”

Section: Uv-vis-nir Reflection and Emissionmentioning

confidence: 99%

“…A 266 nm source (4th harmonic frequency of a pulsed Nd:YAG laser, Alphalas) was used for the zinc oxide fluorescence excitation. Band gap energies were determined from reflectance spectra as described in [11], while emission spectra were processed as described in [12] in order to estimate the composition of cadmium pigments.…”

Section: Uv-vis-nir Reflection and Emissionmentioning

confidence: 99%

“…2c) has highlighted two maxima, possibly indicating a mixture of two different Cd 1−x Zn x S solid solutions with slightly different zinc contents which however cannot be resolved. The average zinc fraction has been determined to be of about 0.15, exploiting the linear dependence of the optical band gap with the solid solution stoichiometry as reported in [11]. Very weak luminescence bands (data not shown) were detected in the red-NIR region for both the yellows and ascribed to deep level emissions (DLE) [11]; these signals although too low to be used for confirming the stoichiometry, can be considered to further underline the similarity between the chemical composition of pastose and diluted Cd-based yellows.…”

Section: Yellow and Orange Paintsmentioning

confidence: 99%

“…The average zinc fraction has been determined to be of about 0.15, exploiting the linear dependence of the optical band gap with the solid solution stoichiometry as reported in [11]. Very weak luminescence bands (data not shown) were detected in the red-NIR region for both the yellows and ascribed to deep level emissions (DLE) [11]; these signals although too low to be used for confirming the stoichiometry, can be considered to further underline the similarity between the chemical composition of pastose and diluted Cd-based yellows. Thus, non-invasive data (XRF and UV-Vis-NIR reflection and emission) agreed indicating that the pigment and filler of yellow1 and yellow2 are the same, at least within the sensitivity limit of non invasive methods.…”

Section: Yellow and Orange Paintsmentioning

confidence: 99%

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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: Uv-vis-nir Reflection and Emissionmentioning

confidence: 99%

Section: Uv-vis-nir Reflection and Emissionmentioning

confidence: 99%

Section: Yellow and Orange Paintsmentioning

confidence: 99%

Section: Yellow and Orange Paintsmentioning

confidence: 99%

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

et al. 2016

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“…Such chromatic properties are due to CdS 2.42 eV band gap that can be modulated by the progressive substitution of Cd with one of the former elements (e.g. Zn to obtain pale yellow cadmium zinc sulfide pigments [11]). Cadmium yellow, cadmium red and cadmium orange are brilliant pigments with good permanence and tinting power, which have been widely used since 1840, especially by painters like Claude Monet, Vincent Van Gogh, Edvard Munch and Jackson Pollock.…”

Section: Description Of Samplesmentioning

confidence: 99%

Nonlinear optical imaging techniques (NLO) for painting investigation

Fovo¹,

Fontana²,

Striová³

et al. 2017

Proceedings of the International Conference LACONA XI

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Nonlinear optical imaging techniques (NLO imaging), i.e. multiphoton excitation fluorescence (MPEF), second and third harmonic generation (SHG, THG), are high-resolution imaging modalities which may provide non-destructive determination of thickness and composition within multi-layer objects as a function of depth. NLO techniques have been recently introduced into artworks analyses, giving promising results. As regards paintings, the guiding idea is to exploit the low absorption in the near-infrared (NIR) of most materials, using a laser light in this spectral region which may generate non-linear interactions within materials. The objective is to make feasible the in-depth profiling of thin films on the basis of refractive index changes, variation of optical activity and presence of fluorophores. Such information is definitely useful for the analysis of painted objects and can be also crucial for the monitoring of restoring operations. In this study, we present the preliminary results obtained through the application of NLO imaging techniques on a series of single-and multi-layers systems simulating real egg-tempera wood panel paintings. This research is part of the wider Iperion CH Project, whose WP6 entails the evaluation of NLO-imaging to obtain highly resolved en-face and 3D images of small areas on paintings. To that purpose, a set of multi-layer painted samples, simulating real paintings, was designed and realized. They are currently under analysis with different operating systems and modalities within the partnership. In order to assess the reliability of NLO measurements, data were complemented with other well-established techniques, such as Fourier Transform Infrared Spectroscopy (FTIR) and X-Ray Fluorescence (XRF) for the chemical characterization of materials, Optical Coherence Tomography (OCT) for the determination of layers thickness and laser scanning micro-profilometry for the study of surface morphology. In addition, colorimetric analyses, i.e. reflectance spectroscopy in the visible region, were performed in order to chromatically characterize pigments and lakes. Finally, the transparency of the different materials was investigated by means of Scanning Multispectral VIS-NIR Reflectography. The preliminary results suggest that the 740 nm wavelength, while enabling the visualization of the painting surfaces micromorphology, is not effective for the determination of thickness through the detection of the non-linear signals.

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Synthesis of novel green phosphate pigments with phosphophyllite composition

Onoda

Kanemoto

2022

Int J Ceramic Engine & Sci

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A new green pigment with the composition of phosphophyllite was synthesized using zinc oxide, iron oxalate, and phosphoric acid in a hydrothermal process. The effects of hydrothermal treatment temperature and time were investigated. In order to obtain pigments with a variety of colors, compounds with related compositions were also prepared. Further, samples were prepared with nitrogen bubbling to suppress the oxidation of iron. The composition of the fabricated samples was evaluated by X‐ray diffraction and infrared spectra. The color of the samples was evaluated by ultraviolet‐visible reflectance spectra and L*a*b* color space. The samples prepared in this study were a mixture of Zn2Fe(PO4)2•2H2O, the target compound, and iron oxalate, the raw material. The obtained samples were yellow to green in color. The condition that yielded the best green pigment was hydrothermal treatment at 180°C for 20 h with nitrogen bubbling.

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UV–Vis-NIR and micro Raman spectroscopies for the non destructive identification of Cd 1−x Zn x S solid solutions in cadmium yellow pigments

Cited by 77 publications

References 48 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

Nonlinear optical imaging techniques (NLO) for painting investigation

Synthesis of novel green phosphate pigments with phosphophyllite composition

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