X-ray absorption investigations of copper resinate blackening in a XV century Italian painting

Cartechini, Laura; Miliani, Costanza; Brunetti, Brunetto Giovanni; Sgamellotti, Antonio; Altavilla, Claudia; Ciliberto, Enrico; d’Acapito, Francesco

doi:10.1007/s00339-008-4498-y

Cited by 44 publications

(52 citation statements)

References 21 publications

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“…Verdigris (neutral and basic), as well as the copper carbonate pigments azurite and malachite, shows the tendency to react with the oil binding media to form copper soaps [35,67,145], to brown and darken, as Cu + is formed by ambient light absorption (photoreduction), and oxygen promotes the formation of brown peroxide species [146]. Cu-salts of organic acidic compounds are formed in verdigris-containing paint layers (or at the interface with the varnish), as fatty and resin acids can extract copper ions from the verdigris pigment [133,147]. It seems important to mention that such reactions are equilibria, and therefore the addition of overpaint, or the removal of paint or varnish layers during restoration, might affect the chemical structure of the aged layer [133].…”

Section: Verdigris (Copper Acetates: Xcu(ch 3 Coo 2 )·Ycu(oh) 2 ·Zh 2mentioning

confidence: 99%

“…It seems important to mention that such reactions are equilibria, and therefore the addition of overpaint, or the removal of paint or varnish layers during restoration, might affect the chemical structure of the aged layer [133]. Copper acetates and resinates catalyse the oxidation process of oil films and influences the curing of the oil [133,134,147,148]. In tempera, verdigris seems less prone to discolouration, but still reactions of Cu-extraction can take place [133,146].…”

Section: Verdigris (Copper Acetates: Xcu(ch 3 Coo 2 )·Ycu(oh) 2 ·Zh 2mentioning

confidence: 99%

“…In this process, some of the acetates remain unreacted [147]. When mixed with oil, the coordination of the copper ion changes [147,151].…”

Section: Copper Resinate (Copper Salts Of Abietic Acid Green)mentioning

confidence: 99%

“…In this process, some of the acetates remain unreacted [147]. When mixed with oil, the coordination of the copper ion changes [147,151]. Copper carboxylates are formed from the oil fraction of the binder, while metalloproteins may appear if egg tempera was used [147].…”

Section: Copper Resinate (Copper Salts Of Abietic Acid Green)mentioning

confidence: 99%

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On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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This review is to be considered part of the development of the MEMORI dosimeter, to evaluate the impact of climate (relative humidity, temperature, illumination, etc., including volatile organic compounds) on moveable objects. In the framework of the MEMORI project, Ghent University was given the task to assess pigment degradation upon acetic acid exposure, and to collect information on pigments' stability. Moreover, to obtain a wider knowledge on the stability of common pigments, the effect of a variety of parameters was reviewed from literature. Discolouration and degradation of pigments significantly alter the legibility of polychrome works of art, so that the development of monitoring methods to ensure the preservation of cultural heritage objects is of primary importance.

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Section: Verdigris (Copper Acetates: Xcu(ch 3 Coo 2 )·Ycu(oh) 2 ·Zh 2mentioning

confidence: 99%

Section: Verdigris (Copper Acetates: Xcu(ch 3 Coo 2 )·Ycu(oh) 2 ·Zh 2mentioning

confidence: 99%

“…In this process, some of the acetates remain unreacted [147]. When mixed with oil, the coordination of the copper ion changes [147,151].…”

Section: Copper Resinate (Copper Salts Of Abietic Acid Green)mentioning

confidence: 99%

Section: Copper Resinate (Copper Salts Of Abietic Acid Green)mentioning

confidence: 99%

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On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

2017

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“…Some identifications have been punctually performed by micro-Raman spectroscopy, like copper citrate on a Thai manuscript [7] or copper resinate on a painting of the master Spanish painter, El Greco [8]. Furthermore, the degradation is more frequently observed with organic pigments, and the formation of breakdown products like copper oxalates [9,10] or the 'darkening' of resinates have been mentioned [11,12].…”

Section: Introduction and Research Aimsmentioning

confidence: 99%

Identification of Different Copper Green Pigments in Renaissance Paintings by Cluster-TOF-SIMS Imaging Analysis

Richardin

Mazel

Walter

et al. 2011

J. Am. Soc. Mass Spectrom.

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Time-of-flight secondary ion mass spectrometry (TOF-SIMS) imaging using cluster primary ion beams is used for the identification of a green painting layer on the scene The Angels Concert from the Issenheim Altarpiece (painted in 1516) from a German Renaissance painter, Matthias Grünewald. Copper carboxylate clusters inside a basic copper chloride (atacamite) layer have been identified and located in the copper green layer. The mechanisms of transformation of atacamite into copper carboxylates may be initiated by an aging of the paint layers. The combination of the high mass resolution of the technique together with a micrometer spatial resolution and the possibility to simultaneously identify both minerals and organics, has proven to be the method of choice for the study of the stratigraphy of a paint cross-section.

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Shedding light on the colours of medieval alabaster sculptures: Scientific analysis and digital reconstruction of their original polychromy

Pereira-Pardo

Tamburini

Dyer

2018

Color Research & Application

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Although medieval alabaster sculptures might appear white at present, they were colourful once, because painting and gilding the stone was an integral part of their production. This work presents the study of polychrome remnants on a selection of fourteenth century English alabasters, using multiple scientific methods (microscopy, spectroscopic and chromatographic techniques). The range of pigments identified include vermilion, red ochre, red lead, kermes, verdigris, copper resinate, azurite, lead white and carbon black. Some sophisticated decorative techniques were also observed, namely the application of translucent glazes on top of raised gilded motifs. The analysis was useful in understanding the degradation processes undergone by some materials, such as verdigris. The use of oil as binding medium for the application of the paint layers and a mordant gilding technique were determined. These findings yielded important clues towards the digital reconstruction of the original appearance of the polychrome surface, which is also presented here.

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X-ray absorption investigations of copper resinate blackening in a XV century Italian painting

Cited by 44 publications

References 21 publications

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

On the stability of mediaeval inorganic pigments: a literature review of the effect of climate, material selection, biological activity, analysis and conservation treatments

Identification of Different Copper Green Pigments in Renaissance Paintings by Cluster-TOF-SIMS Imaging Analysis

Shedding light on the colours of medieval alabaster sculptures: Scientific analysis and digital reconstruction of their original polychromy

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