Vibrational and electronic properties of painting lakes

Clementi, Catia; Doherty, Brenda; Gentili, Pier Luigi; Miliani, Costanza; Romani, A.; Brunetti, Brunetto Giovanni; Sgamellotti, Antonio

doi:10.1007/s00339-008-4474-6

Cited by 126 publications

(126 citation statements)

References 19 publications

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“…Specifically, the emission spectrum recorded on the redpink painted areas (point 1 in Fig. 2a), peaked at 615 nm, resembles the spectral features of a red lake pigment, likely madder-based [4,20] (Fig. 3).…”

Section: Resultsmentioning

confidence: 97%

“…Among ancient Egyptian pigments, Egyptian blue and madder-based red lakes are luminescent and are routinely identified with the aid of microscopic and spectroscopic analysis [2]. While the fluorescence observed in madder lakes is due to the anthraquinone molecules purpurin and alizarin, the optical emission of Egyptian blue has been ascribed to Cu 2+ in a solid calcium-silica matrix [3][4][5]. Recent research on the mineral pigment has reported that synthetic cuprorivaite has a radiative emission with a maximum peaked at 910 nm and a lifetime of 107 μs and a quantum yield of 10 % [6].…”

Section: Introductionmentioning

confidence: 99%

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Dual wavelength excitation for the time-resolved photoluminescence imaging of painted ancient Egyptian objects

et al. 2016

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Background:The scientific imaging of works of art is crucial for the assessment of the presence and distribution of pigments and other materials on surfaces. It is known that some ancient pigments are luminescent: these include pink red-lakes and the blue and purple pigments Egyptian Blue (CaCuSi 4 O 10 ), Han blue (BaCuSi 4 O 10 ) and Han purple (BaCuSi 2 O 6 ). Indeed, the unique near-infrared luminescence emission of Egyptian blue allows the imaging of its distribution on surfaces. Results:We focus on the imaging of the time-resolved photoluminescence of ancient Egyptian objects in the Burri Collection from the Civic Museum of Crema and of the Cremasco (Italy). Time-resolved photoluminescence images have been acquired using excitation at 355 nm for detecting the ns-emission of red lakes and binding media; by employing 532 nm excitation Egyptian blue is probed, and the spatial distribution of its long-lived microsecond emission is imaged. For the first time we provide data on the photoluminescence lifetime of Egyptian blue directly from objects. Moreover, we demonstrate that the use of a pulsed laser emitting at two different wavelengths increases the effectiveness of the lifetime imaging technique for mapping the presence of emissions from pigments on painted surfaces. Laser-induced luminescence spectra from different areas of the objects and traditional digital imaging, using led-based lamps, long pass filters and a commercial photographic camera, complement the results from photoluminescence lifetime imaging. We demonstrate the versatility of a new instrumental setup, capable of recording decay emission kinetics with lifetimes from nanosecond to microseconds. Conclusions:While the combined wavelength approach for the imaging of emissions from different materials has been demonstrated for the study of ancient Egyptian pigments (both organic and inorganic), the method could be extended to the analysis of modern pigments and paintings.

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Section: Resultsmentioning

confidence: 97%

Section: Introductionmentioning

confidence: 99%

Dual wavelength excitation for the time-resolved photoluminescence imaging of painted ancient Egyptian objects

et al. 2016

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“…It is well known that the inorganic substrates in lake pigments determine in part the stability of the colorants towards the exposure to [11,13]. To date, no inorganic substrates other than Al-based have been reported for eosin paints in works by Van Gogh [14], and no studies have been published on the permanence of eosin red as precipitated on CaCO 3 . SERS (Fig.…”

Section: Irisesmentioning

confidence: 99%

“…Geldof et al in their study of Van Gogh's palette in the last period of his life (1888-1890) found that, starting in the summer of 1889, Van Gogh used a paint containing a redwood colorant and cochineal precipitated on an Al/ Sn-containing substrate, with a small amount of CaCO 3 , and state that he likely bought this as a ready-made paint mixture since they did not identify redwood separately [15]. Redwood alone had been previously identified in Garden of the Asylum [12] by thin layer chromatography; both lakes were identified separately in paintings done while Van Gogh was in Paris [13].…”

Section: Rosesmentioning

confidence: 99%

“…UV-vis fluorescence and visible absorption spectrometry have been applied to identify organic colorants in works of art [2,3], however these techniques give spectra with broad features that are not always useful [2]. In the FTIR analysis of lakes, the presence of bands due to the binding media frequently interferes with the identification of the colorants, and the Raman spectroscopic analysis is often limited by the high fluorescence of most organic colorants.…”

Section: Introductionmentioning

confidence: 99%

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Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments

et al. 2017

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Vincent van Gogh's still lifes Irises and Roses were investigated to shed light onto the degree to which the paintings had changed, both individually and in relation to each other since they were painted, particularly in regard to the fading of the red lakes. Non-invasive techniques, including macroscopic X-ray fluorescence mapping, reflectance imaging spectroscopy, and X-radiography, were combined with microanalytical techniques in a select number of samples. The in-depth microchemical analysis was necessary to overcome the complications that arise when evaluating by non-invasive methods alone the compositions of passages with complex layering and mixing of paints. The results obtained by these two approaches were complemented by color measurements performed on paint cross-sections and on protected edges, and with historical information provided by the artist's own descriptions, early reviews and reproductions, and the data was used to carry out digital color simulations that provided, to a certain extent, a visualization of how the paintings may have originally appeared.

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Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's PaintingThe Olive Orchard

et al. 2020

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Vincent van Gogh used fugitive red lake pigments that have faded in some paintings. Mapping their distribution is key to understanding how his paintings have changed with time. While red lake pigments can be identified from microsamples, in situ identification and mapping remain challenging. This paper explores the ability of molecular fluorescence imaging spectroscopy to identify and, more importantly, map residual non‐degraded red lakes. The high sensitivity of this method enabled identification of the emission spectra of eosin (tetrabromine fluorescein) lake mixed with lead or zinc white at lower concentrations than elemental X‐ray fluorescence (XRF) spectroscopy used on account of bromine. The molecular fluorescence mapping of residual eosin and two carmine red lakes in van Gogh's The Olive Orchard is demonstrated and compared with XRF imaging spectroscopy. The red lakes are consistent with the composition of paint tubes known to have been used by van Gogh.

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Vibrational and electronic properties of painting lakes

Cited by 126 publications

References 19 publications

Dual wavelength excitation for the time-resolved photoluminescence imaging of painted ancient Egyptian objects

Dual wavelength excitation for the time-resolved photoluminescence imaging of painted ancient Egyptian objects

Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments

Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's PaintingThe Olive Orchard

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