New insights into the ageing of linseed oil paint binder: a qualitative and quantitative analytical study

Non-Destructive Prediction of the Mixed Mineral Pigment Content of Ancient Chinese Wall Paintings Based on Multiple Spectroscopic Techniques

This study first developed non-destructive and accurate methods to predict the relative contents of mixed mineral pigments in ancient Chinese wall paintings using multiple spectroscopic techniques. The colorimetry, attenuated total reflection Fourier transform infrared spectroscopy (ATR FT-IR), ultraviolet-visible-near-infrared (UV-Vis-NIR) spectroscopy, and Raman spectroscopy were employed. Analyses were conducted including color difference, spectral reflection, ATR FT-IR spectra, and Raman mapping for simulated samples (malachite-lazurite mixed with rabbit glue samples) before and after aging. Models were then established for predicting the relative pigment contents of samples using UV-Vis-NIR and ATR FT-IR spectral data with Beer-Lambert law, and mathematical methods comprising principal component analysis (PCA) and nonlinear curve fitting. In particular, PCA and empty modeling methods combined with non-negative partial least squares were developed to predict the relative pigment contents based on Raman mapping data. The results demonstrated that approaches comprising PCA, mathematical model, and empty modeling based on the spectral data were effective at predicting the relative pigment contents. The predicted results obtained using the mathematical model based on UV-Vis-NIR spectra had an error of about 2%, and the best prediction based on ATR FT-IR spectra had an error of <3.6% at 1041 cm-1. The errors for the predictions using PCA and empty modeling based on Raman mapping data were 0.01-9.30% and 0.28-7.15%, respectively. However, the predicted relative pigment contents obtained based on ATR FT-IR data combined with the Beer-Lambert law had higher errors. The findings of this study confirm the strong feasibility of using spectroscopic techniques for quantitatively analyzing mixed mineral pigments.

Egg vs. Oil in the Cookbook of Plasters: Differentiation of Lipid Binders in Wall Paintings Using Gas Chromatography-Mass Spectrometry and Principal Component Analysis

Wall paintings are integral to cultural heritage and offer rich insights into historical and religious beliefs. There exist various wall painting techniques that pose challenges in binder and pigment identification, especially in the case of egg/oil-based binders. GC-MS identification of lipidic binders relies routinely on parameters like the ratios of fatty acids within the plaster. However, the reliability of these ratios for binder identification is severely limited, as demonstrated in this manuscript. Therefore, a more reliable tool for effective differentiation between egg and oil binders based on a combination of diagnostic values, specific markers (cholesterol oxidation products), and PCA is presented in this study. Reference samples of wall paintings with egg and linseed oil binders with six different pigments were subjected to modern artificial ageing methods and subsequently analysed using two GC-MS instruments. A statistically significant difference (at a 95% confidence level) between the egg and oil binders and between the results from two GC-MS instruments was observed. These discrepancies between the results from the two GC-MS instruments are likely attributed to the heterogeneity of the samples with egg and oil binders. This study highlights the complexities in identifying wall painting binders and the need for innovative and revised analytical methods in conservation efforts.

Oil Media on Paper: Investigating the Interaction of Cold-Pressed Linseed Oil with Paper Supports with FTIR Analysis

Previous works of the authors have presented the changes in the optical, mechanical, and chemical properties of the oiled areas of the supports that occur upon ageing due to oil-binder absorption in works of art on paper and printed material. In this framework, transmittance FTIR analysis has indicated that the presence of linseed oil induces the conditions to promote the deterioration of the oil-impregnated areas of the paper supports. However, the analysis of oil-impregnated mock-ups did not provide detailed information about the input of linseed oil formulations and the different types of paper support on the chemical changes that occur upon ageing. This work presents the results of ATR-FTIR and reflectance FTIR, which were used for compensating the previous results, proving indications on the effect of different materials (linseed oil formulations, and cellulosic and lignocellulosic papers) on the development of chemical changes, thus, on the condition of the oiled areas upon ageing. Although linseed oil formulations have a determining effect on the condition of the oiled areas of the support, the paper pulp content appears to have an input to the chemical changes that occur in the system of paper-linseed oil upon ageing. The results presented are more focused on the oil-impregnated mock-ups with cold-pressed linseed oil since results have indicated that this causes more extended changes upon ageing.

Review of recent advances on the use of mass spectrometry techniques for the study of organic materials in painted artworks

The study of painted artworks using scientific methods is fundamental for understanding the techniques used in their creation and their appropriate conservation. The ethical constraints involved in the handling of, and sampling from, these objects has steered recent developments in the field of Heritage science towards a range of new non-invasive/non-destructive spectroscopic techniques capable of providing important insights into their elemental or bulk chemical compositions. Due to the inherent complexities of heritage artefacts, however, their organic components are especially difficult to study in this way and their identification and degradation pathways are thus often best investigated using mass spectrometric (MS) techniques. The versatility, sensitivity and specificity of MS techniques are constantly increasing, with technological advances pushing the boundaries of their use in this field. The progress in the past ten years in the use of MS techniques for the analysis of paint media are described in the present review. While some historical context is included, the body of the review is structured around the five most widely used or emerging capabilities offered by MS. The first pertains to the use of spatially resolved MS to obtain chemical maps of components in cross-sections, which may yield information on both inorganic and organic materials, while the second area describes the development of novel sample preparation approaches for gas chromatography (GC)-MS to allow simultaneous analysis of a variety of components. The third focuses on thermally assisted analysis (either with direct MS or coupled with GC-MS), a powerful tool for studying macromolecules requiring zero (or minimal) sample pre-treatment. Subsequently, the use of soft ionisation techniques often combined with high-resolution MS for the study of peptides (proteomics) and other macromolecules (such as oligosaccharides and triglycerides) is outlined. The fifth area covers the advances in radiocarbon dating of painting components with accelerator MS (AMS). Lastly, future applications of other MS techniques to the study of paintings are mentioned; such as direct analysis in real time MS (DART-MS) and stable isotope ratio MS (IRMS). The latter, having proven its efficiency for the study of lipids in archaeological artefacts, is envisioned to become a valuable tool for this area, whereas DART-MS is already being utilised to study the surface composition of various museum objects. Rapid technological advances, resulting in increased sensitivity and selectivity of MS techniques, are opening up new approaches for paintings analysis, overcoming the fundamental hurdle of sample size available for destructive analysis. Importantly, while the last decade has seen proteomics applications come to the fore, this review aims to emphasise the wider potential of advanced MS techniques for the study of painting materials and their conservation.

Oil Media on Paper: Investigating the Effect of Linseed Oils on Lignocellulosic Paper Supports

Condition assessment of works of art created with oil media on paper could be a complex matter when presenting problems of damage due to the absorption of oil binders by the paper support, since they depend on several factors and occur in variable conditions. The present work refers to the results of an investigation on the effect of linseed oils on the color, opacity, morphology, tensile strength, and chemical properties of lignocellulosic papers, in comparison to that of pure cellulosic papers. Lignocellulosic papers are involved in research on new, yet significant, parameters that might influence the behavior of the oil-impregnated areas of the supports upon aging. The research was applied to mock-ups, made of two types of lignocellulosic paper impregnated with three types of linseed oil and subjected to accelaratated ageing in specific conditions of relative humidity and temperature in closed environment. The research involved colorimetry, opacity, tensile strength, pH measurements, SEM, FTIR, and VOC analysis with GC-MS. The results indicated that thermal-humid ageing caused the gradual darkening of the oil-impregnated mock-ups, alterations in opacity, and decrease of pH values, depending mainly on the formulation of linseed oil, as well as a reduction in tensile strength. FTIR analysis results indicated that the chemical changes that occur upon ageing supported the recorded optical and mechanical alterations, while VOC emissions are both associated with the paper type and the kinetics of degradation of the different types of linseed oil.

Mass spectrometry in art conservation-With focus on paintings

Conservation of historic artifacts has been a multidisciplinary field from its very beginning. Traditionally, it has been and still is associated with the history of art. It applies knowledge from technical and basic sciences, adapting their solutions to its goals. At present, however, a new tendency is clearly emerging-scientific research is starting to play an increasingly important role not only as a service, but also by proposing new solutions both in the traditional conservation areas and in new areas of conservation activities. The above trend opens up new perspectives for the field of preservation of our heritage but may also create new threats. Therefore, the conservators' caution in introducing new technologies should always be justified; after all, they are responsible for the effects of any activities on the historic objects. This, quite selective review, discusses application of mass spectrometry techniques for the detection of various components that are important to the conservators of our heritage with particular focus on paintings. The text also contains some basic knowledge of technical details to introduce the methodology to a broader group of professionals.

Fatty Acids and Their Metal Salts: A Review of Their Infrared Spectra in Light of Their Presence in Cultural Heritage

In a cultural heritage context, fatty acids are usually found as breakdown products of lipid-containing organic remains in archaeological findings, binders in aged oil paintings, and additives in modern art-related materials. They may further interact with the ionic environment transforming into metal soaps, a process that has been recognized as a threat in aged paintings but has received less attention in archaeological objects. The investigation of the above related categories of materials with infrared spectroscopy can provide an overall picture of the organic components' identity and demonstrate their condition and prehistory. The capability of investigating and distinguishing fatty acids and their metal soaps through their rich infrared features, such as the acidic carbonyl, the carboxylate shifts, the variable splits of alkyl chain stretching, bending, twisting, wagging, and rocking vibrations, as well as the hydroxyl peak envelopes and acid dimer bands, allows for their direct detailed characterization. This paper reviews the infrared spectra of selected saturated fatty monoacids and diacids, and their corresponding sodium, calcium, and zinc salts and, supported by newly recorded data, highlights the significance of their spectroscopic features.

The stability of paintings and the molecular structure of the oil paint polymeric network

A molecular-level understanding of the structure of the polymeric network formed upon the curing of air-drying artists' oil paints still represents a challenge. In this study we used a set of analytical methodologies classically employed for the characterisation of a paint film-based on infrared spectroscopy and mass spectrometry-in combination with solid state NMR (SSNMR), to characterise model paint layers which present different behaviours towards surface cleaning with water, a commonly applied procedure in art conservation. The study demonstrates, with the fundamental contribution of SSNMR, a relationship between the painting stability and the chemical structure of the polymeric network. In particular, it is demonstrated for the first time that a low degree of cross-linking in combination with a high degree of oxidation of the polymeric network render the oil paint layer sensitive to water.

Liquid chromatography and mass spectrometry for the analysis of acylglycerols in art and archeology

Lipid characterization in art and archeology, together with the study of lipid degradation processes, is an important research area in heritage science. Lipid-based materials have been used as food since ancient times, but also employed as illuminants and as ingredients in cosmetic, ritual, and pharmaceutical preparations. Both animal and plant lipids have also been processed to produce materials used in art and crafts, such as paint binders, varnishes, waterproofing agents, and coatings. Identifying the origin of the lipid materials is challenging when they are found in association with artistic historical objects. This is due to the inherent complex composition of lipids, their widespread occurrence, and the chemical alterations induced by ageing. The most common approach for lipid characterization in heritage objects entails profiling fatty acids by gas chromatography/mass spectrometry after saponification or transesterification. New developments in high-performance liquid chromatography coupled with mass spectrometry (HPLC-MS) for the characterization of acylglycerols, together with more efficient sample treatments, have fostered the introduction of liquid chromatography for characterizing the lipid profile in heritage objects. This review reports the latest developments and applications of HPLC-MS for the characterization of lipid materials in the field of heritage science. We describe the various approaches for sample pretreatment and highlight the advantages and limitations of HPLC-MS in the analysis of paint and archeological samples. © 2020 John Wiley & Sons Ltd.

Monitoring UV-accelerated alteration processes of paintings by means of hyperspectral micro-FTIR imaging and chemometrics

We explored the potential of infrared hyperspectral microimages to investigate the alteration of organic binders in pictorial layers after artificial UV light ageing. A set of paint mockups was prepared considering three different binders, namely, rabbit glue (a collagen-based proteinaceous binder), linseed oil (representative of drying oils) and egg tempera (a mixture of egg yolk and linseed oil). Four pigments (vermilion, orpiment, azurite and lead white) were considered in order to investigate the influence of pigment-binder interaction, following color changes by means of fiber optic reflectance spectroscopy (FORS). FTIR micro-images provided a representative picture of the complex and heterogeneous structure of paintings since each pixel contained the whole spectrum of the sample area from it was recorded. Principal component analysis (PCA) was used to analyze the FTIR images data in order to extract useful information about spectral changes taking place during UV induced ageing. Significant trends were observed, mainly depending on the binders and their degradation as a consequence of UV exposition in this pilot study on model samples. Several processes, such as the oxidation of proteins with the formation of carbonyl moieties and changes in amide band positions have been detected in the case of rabbit skin glue. The evaporation of linseed oil, probably due to the breakdown of the triacylglycerols, has been noticed for the binder alone but not when it was mixed with the pigments. In these cases, other spectral features depending on the pigment have been observed in the loading plots upon oxidation, namely the broadening of the carbonyl band, the appearance of carboxylic and dicarboxylic acids and the formation of metal carboxylates. For egg tempera, the main changes detected were related to the oxidation of lipidic components present in egg yolk fraction. Furthermore, in this case, the trend observed in the score graphs suggested that the presence of lead white accelerates its oxidation. It is interesting to note the major stability of the colored pigments when using this binder.

Quantitative GC-MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

In this study, quantitative gas chromatography-mass spectrometry (GC-MS) analysis was used to evaluate the influence of pigment concentration on the drying of oil paints. Seven sets of artificially aged self-made paints with different pigments (yellow ochre, red ochre, natural cinnabar, zinc white, Prussian blue, chrome oxide green, hematite + kaolinite) and linseed oil mixtures were analysed. In the pigment + linseed oil mixtures, linseed oil concentration varied in the range of 10 to 95 g/100 g. The results demonstrate that the commonly used palmitic acid to stearic acid ratio (P/S) to distinguish between drying oils varied in a vast range (from especially low 0.6 to a common 1.6) even though the paints contained the same linseed oil. Therefore, the P/S ratio is an unreliable parameter, and other criteria should be included for confirmation. The pigment concentration had a substantial effect on the values used to characterise the degree of drying (azelaic acid to palmitic acid ratio (A/P) and the relative content of dicarboxylic acids (∑D)). The absolute quantification showed that almost all oil paint mock-ups were influenced by pigment concentration. Therefore, pigment concentration needs to be considered as another factor when characterising oil-based paint samples based on the lipid profile.

Generative Algorithm for Molecular Graphs Uncovers Products of Oil Oxidation

The autoxidation of triglyceride (or triacylglycerol, TAG) is a poorly understood complex system. It is known from mass spectrometry measurements that, although initiated by a single molecule, this system involves an abundance of intermediate species and a complex network of reactions. For this reason, the attribution of the mass peaks to exact molecular structures is difficult without additional information about the system. We provide such information using a graph theory-based algorithm. Our algorithm performs an automatic discovery of the chemical reaction network that is responsible for the complexity of the mass spectra in drying oils. This knowledge is then applied to match experimentally measured mass spectra with computationally predicted molecular graphs. We demonstrate this methodology on the autoxidation of triolein as measured by electrospray ionization-mass spectrometry (ESI-MS). Our protocol can be readily applied to investigate other oils and their mixtures.

Investigation of proteinaceous paint layers, composed of egg yolk and lead white, exposed to fire-related effects

Fires can have a negative impact on the environment, human health, property and ultimately also on various objects of cultural heritage (CH). This paper deals with an investigation into the degradation of selected proteinaceous paint layers that were exposed to fire-related effects (i.e., fire effluents and/or high temperatures) in a modified cone-calorimeter system. Paint layers of egg yolk adhesive (E) and lead white tempera (E + LW) were exposed to fire-related impacts on top of a CH stack and in a specially designed CH test chamber. On the CH stack, the proteinaceous paint layers were exposed to fire effluents and high temperatures, while in the CH test chamber, the samples were exposed mainly to fire effluents. The molecular changes to the exposed paint layers were analysed by invasive and non-invasive spectroscopic analyses (i.e., FTIR and Raman spectroscopy) and complimented with pyrolysis-GC–MS, while the colour changes were evaluated using colourimetry. It was concluded that the proteinaceous binder degrades into aromatic amino acids and/or fatty acids after exposure to the overall impacts of the fire. Aromatic amino acids were detected by means of the FTIR and py-GC–MS analyses. In the case of the lead white tempera exposure, partial dissociation of the lead white pigment was confirmed by the detection of alteration products, such as lead oxide and lead carbonate. Moreover, the investigation of the E + LW samples exposed for longer times revealed the presence of lead carboxylates. On the other hand, no significant molecular changes were observed with the CH samples exposed to fire effluents in the CH test chamber. The research offered us an insight into the fire-induced effects on selected paints for the first time.

The Ins and Outs of 14C Dating Lead White Paint for Artworks Application

Lead white is known as one of the oldest pigments in art and can be used as a dating material. Upon production following the Stack process, the ¹⁴C isotope of atmospheric carbon dioxide is fixed in the carbonate, and its radiocarbon dating can be used as a proxy for the age of a painting. The previously reported carbonate hydrolysis protocol reaches its limitation when confronted with samples presenting a mixture of carbonates, such as lead carbonate (cerussite or hydrocerussite), calcium carbonate (calcite), and/or calcium magnesium carbonate (dolomite). Thermogravimetric analyses indicate that decomposition of lead carbonate can be achieved at 350 °C in TGA diagrams, as other mineral carbonates only decompose to carbon dioxide at temperatures above 700 °C. Thus, a thermal approach is proposed to separate the various carbonates and isolate the specific ¹⁴C signature to the lead carbonate. In practice, however, discrepancies between the measured radiocarbon ages and expected ages were observed. FTIR analyses pointed to the formation of metal carboxylates, an indicator that the organic binder is not inert and plays a role in the dating strategy. Upon drying, oxidation and hydrolysis take place leading to the formation of free fatty acids, which in turn interact with the different carbonates upon heating. Their removal was achieved by introduction of a solvent extraction step prior to the thermal treatment, which was confirmed by GC-MS analyses, and thus, the collected carbon dioxide at 350 °C results can be assigned correctly to the decomposition of the lead white pigment. The proposed procedure was furthermore verified on mixed carbonate-bearing paint samples collected from a Baroque oil painting.

On the influence of relative humidity on the oxidation and hydrolysis of fresh and aged oil paints

Modern oil paintings are affected by conservation issues related to the oil paint formulations and to the fact that they are often unvarnished, and in direct contact with the environment. Understanding the evolution of the molecular composition of modern oil paint during ageing, under the influence of environmental factors, is fundamental for a better knowledge of degradation phenomena and risk factors affecting modern art. We investigated for the first time the influence of relative humidity on the chemical composition of modern oil paints during curing and artificial ageing. For this purpose, modern oil paint layers naturally aged for 10 years were further artificially aged in low and high relative humidity conditions. Moreover, the influence of RH% on the curing of fresh paint layers was studied. The paints used in the experiments are from three suppliers (Old Holland, Winsor&Newton, and Talens), and contain cadmium or cadmium zinc sulfide as main pigment. The changes in the composition of extracts of paint samples were investigated by direct electrospray mass spectrometry with a quadrupole-time of flight mass analyser (ESI-Q-ToF). The obtained mass spectral data were interpreted by means of principal component analysis (PCA) operated on a data set containing the relative abundance of ions associated to significant molecules present in the extracts, and also by calculating the ratios between the signals relative to fatty acids, dicarboxylic acids and acylglycerols, related to hydrolysis and oxidation phenomena. The same paint samples were also analysed, in bulk, by pyrolysis gas chromatography mass spectrometry (Py-GC/MS), achieving chemical information on the total lipid fraction. High performance liquid chromatography (HPLC) ESI-Q-ToF was carried out for the characterisation of the profile of free fatty acids (FFA) and acylglycerols, defining the nature of the oils used in the paint formulations, and for the determination of the degree of hydrolysis. This study demonstrated that relative humidity conditions significantly influence the chemical composition of the paints. Ageing under high RH% conditions produced an increase of the formation of dicarboxylic acids compared to ageing under low RH%, for all paints, in addition to a higher degree of hydrolysis, followed by evaporation of free fatty acids.

The concentration and origins of carboxylic acid groups in oil paint

Although the concentration of carboxylic acid (COOH) groups is crucial to understand oil paint chemistry, analytical challenges hindered COOH quantification in complex polymerised oil samples thus far. The concentration of COOH groups is important in understanding oil paint degradation because it drives the breakdown of reactive inorganic pigments to dissolve in the oil network and form metal carboxylates. The metal ions in such an ionomeric polymer network can exchange with saturated fatty acids to form crystalline metal soaps (metal complexes of saturated fatty acids), leading to serious problems in many paintings worldwide. We developed two methods based on ATR-FTIR spectroscopy to accurately estimate the COOH concentration in artificially aged oil paint models. Using tailored model systems composed of linseed oil, ZnO and inert filler pigments, these dried oil paints were found to contain one COOH group per triacylglycerol unit. Model systems based on a mixture of long chain alcohols showed that the calculated COOH concentration originates from side chain autoxidation at low relative humidity (RH). The influence of increasing RH and ZnO concentration on COOH formation was studied and high relative humidity conditions were shown to promote the formation of COOH groups. No significant ester hydrolysis was found under the conditions studied. Our results show the potential of quantitative analysis of oil paint model systems for aiding careful (re)evaluation of conservation strategies.

Zinc complexation can be used to quantify the concentration of carboxylic acid groups in an oil painting.

Method development for binding media analysis in painting cross-sections by desorption electrospray ionization mass spectrometry

RATIONALE

Art conservation science is in need of a relatively nondestructive way of rapidly identifying the binding media within a painting cross-section and isolating binding media to specific layers within the cross-section. Knowledge of the stratigraphy of cross-sections can be helpful for removing possible unoriginal paint layers on the artistic work.

METHODS

Desorption electrospray ionization mass spectrometry (DESI-MS) was used in ambient mode to study cross-sections from mock-up layered paint samples and samples from a 17th century baroque painting. The DESI spray was raster scanned perpendicular to the cross-sectional layers to maximize lateral resolution then analyzed with a triple quadrupole mass analyzer in linear ion trap mode. From these scans, isobaric mass maps were created to map the locations of masses indicative of particular binding media onto the cross-sections.

RESULTS

Line paint-outs of pigments in different binding media showed specific and unique ions to distinguish between the modern acrylic media and the lipid-containing binding media. This included: OP (EO)₉ surfactant in positive ESI mode for acrylic (m/z 621), and oleic (m/z 281), stearic (m/z 283), and azelaic (m/z 187) acids in negative ESI mode for oil and egg tempera. DESI-MS maps of mock-up cross-sections of layered pigmented binding media showed correlation between these ions and the layers with a spatial resolution of 100 μm.

CONCLUSIONS

DESI-MS is effective in monitoring binding media within an intact painting cross-section via mass spectrometric methods. This includes distinguishing between lipid-containing and modern binding materials present in a known mock-up cross-section matrix as well as identifying lipid-binding media in a 17th century baroque era painting.

A molecular study of modern oil paintings: investigating the role of dicarboxylic acids in the water sensitivity of modern oil paints

The 20th century has seen a significant evolution in artists' paint formulation and technology which is likely to relate to the new conservation challenges frequently presented by modern oil paintings, including unpredictable water- and solvent-sensitivity. This study examined the molecular causes and mechanisms behind these types of modern oil paint vulnerability. Research performed up to now has suggested a correlation between the occurrence of water sensitivity and the presence of relatively high amounts of extractable free dicarboxylic acids. To explore this further, as well as the influence of paint formulation, a set of model paint samples, produced in 2006 using commercial tube paints to which known amounts of additives were added, were analysed. The samples were tested for water sensitivity by aqueous swabbing and characterised using transmission Fourier Transform-Infra Red spectroscopy (FTIR) to determine the molecular composition of the main paint constituents, High Performance Liquid Chromatography-Mass Spectrometry (HPLC-MS), to identify the type(s) of drying oils used as binders, and Gas Chromatography-Mass Spectrometry (GC-MS) using a recently developed analytical procedure that can discriminate and quantify free fatty and dicarboxylic acids, as well as their corresponding metal soaps (carboxylates of fatty and dicarboxylic acids). The results indicated that the addition of small amounts of additives can influence the water sensitivity of an oil paint, as well as its molecular composition. Additionally the nature of the ionomeric/polymeric network appears to be a significant determining factor in the development of water sensitivity.

Quantitative mass spectrometry was used to investigate the role played by dicarboxylic acids in the water sensitivity of modern oil paints.

Development of a GC/MS method for the qualitative and quantitative analysis of mixtures of free fatty acids and metal soaps in paint samples

In this paper we present a new analytical GC/MS method for the analysis of mixtures of free fatty acids and metal soaps in paint samples. This approach is based on the use of two different silylating agents: N,O-bis(trimethylsilyl)trifluoroacetamide (BSTFA) and 1,1,1,3,3,3-hexamethyldisilazane (HMDS). Our experimentation demonstrated that HMDS does not silylate fatty acid carboxylates, so it can be used for the selective derivatization and GC/MS quantitative analysis of free fatty acids. On the other hand BSTFA is able to silylate both free fatty acids and fatty acids carboxylates. The reaction conditions for the derivatization of carboxylates with BSTFA were thus optimized with a full factorial 3² experimental design using lead stearate and lead palmitate as model systems. The analytical method was validated following the ICH guidelines. The method allows the qualitative and quantitative analysis of fatty acid carboxylates of sodium, calcium, magnesium, aluminium, manganese, cobalt, copper, zinc, cadmium, and lead and of lead azelate. In order to exploit the performances of the new analytical method, samples collected from two reference paint layers, from a gilded 16th century marble sculpture, and from a paint tube belonging to the atelier of Edvard Munch, used in the last period of his life (1916-1944), were characterized.

Subjective Ratings of Beauty and Aesthetics: Correlations With Statistical Image Properties in Western Oil Paintings

For centuries, oil paintings have been a major segment of the visual arts. The JenAesthetics data set consists of a large number of high-quality images of oil paintings of Western provenance from different art periods. With this database, we studied the relationship between objective image measures and subjective evaluations of the images, especially evaluations on aesthetics (defined as artistic value) and beauty (defined as individual liking). The objective measures represented low-level statistical image properties that have been associated with aesthetic value in previous research. Subjective rating scores on aesthetics and beauty correlated not only with each other but also with different combinations of the objective measures. Furthermore, we found that paintings from different art periods vary with regard to the objective measures, that is, they exhibit specific patterns of statistical image properties. In addition, clusters of participants preferred different combinations of these properties. In conclusion, the results of the present study provide evidence that statistical image properties vary between art periods and subject matters and, in addition, they correlate with the subjective evaluation of paintings by the participants.

GC/MS and proteomics to unravel the painting history of the lost Giant Buddhas of Bāmiyān (Afghanistan)

A chemical investigation of the organic paint binders of the Giant Buddhas of Bāmiyān was performed using an analytical approach based on mass spectrometry, combining traditional gas chromatography/mass spectrometry protocols with advanced proteomics methodologies. The research was carried out on a selection of rescued fragments. The data revealed the use of egg proteins as the paint binders of the original layers, in accordance with the traditional use of this proteinaceous medium in antiquity, spanning from the Mediterranean basin to the Far East, and already in the Bronze Age. Egg tempera was thus known to artists of the region in the first centuries AD, probably also due to the position of the Bāmiyān valley, which was connected to the Silk Road. Milk was found in the first historical overpaintings. A new proteomics approach was used, which was able to identify the source of the milk proteins present in the restoration layers, despite their age and degradation. In particular cow’s and goat's milk were both found, in agreement with the documented presence of rich pastures in the Bāmiyān valley when the historical restorations were carried out. Investigating the materials of the Giant Buddhas not only enabled us to obtain isolated data on these invaluable works of art, which are now lost, but contributes to understanding the big “puzzle” of our past and the development of our culture, by implementing and supporting written sources, stylistic and anthropological studies with molecular data.

Investigating the Photocatalytic Degradation of Oil Paint using ATR-IR and AFM-IR

As linseed oil has a longstanding and continuing history of use as a binder in artistic paints, developing an understanding of its degradation mechanism is critical to conservation efforts. At present, little can be done to detect the early stages of oil paint deterioration due to the complex chemical composition of degrading paints. In this work, we use advanced infrared analysis techniques to investigate the UV-induced deterioration of model linseed oil paints in detail. Subdiffraction limit infrared analysis (AFM-IR) is applied to identify and map accelerated degradation in the presence of two different grades of titanium white pigment particles (rutile or anatase TiO₂). Differentiation between the degradation of these two formulations demonstrates the sensitivity of this approach. The identification of characteristic peaks and transient species residing at the paint surface allows infrared absorbance peaks related to degradation deeper in the film to be extricated from conventional ATR-FTIR spectra, potentially opening up a new approach to degradation monitoring.

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

Titanium white (TiO₂) 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 TiO₂-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 TiO₂-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.

Vibrational Spectroscopies and Chemometry for Nondestructive Identification and Differentiation of Painting Binders

A comprehensive dataset of vibrational spectra of different natural organic binding media is presented and discussed. The binding media were applied on a glass substrate and analyzed after three months of natural ageing. The combination of Raman and FT-NIR spectroscopies allows for an improved identification of these materials as Raman technique is more informative about the skeletal vibrations, while FT-NIR spectroscopy is more sensitive to the substituents and polar groups. The experimental results are initially discussed in the framework of current spectral assignment. Then, multivariate analysis (PCA) is applied leading to differentiation among the samples. The two major principal components allow for a complete separation of the different classes of organic materials. Further differentiation within the same class is possible thanks to the secondary components. The loadings obtained from PCA are discussed on the basis of the spectral assignment leading to clear understanding of the physical basis of this differentiation process.

Analytical Approaches Based on Gas Chromatography Mass Spectrometry (GC/MS) to Study Organic Materials in Artworks and Archaeological Objects

Gas chromatography/mass spectrometry (GC/MS), after appropriate wet chemical sample pre-treatments or pyrolysis, is one of the most commonly adopted analytical techniques in the study of organic materials from cultural heritage objects. Organic materials in archaeological contexts, in classical art objects, or in modern and contemporary works of art may be the same or belong to the same classes, but can also vary considerably, often presenting different ageing pathways and chemical environments. This paper provides an overview of the literature published in the last 10 years on the research based on the use of GC/MS for the analysis of organic materials in artworks and archaeological objects. The latest progresses in advancing analytical approaches, characterising materials and understanding their degradation, and developing methods for monitoring their stability are discussed. Case studies from the literature are presented to examine how the choice of the working conditions and the analytical approaches is driven by the analytical and technical question to be answered, as well as the nature of the object from which the samples are collected.

Nondestructive Determination of the Age of 20th-Century Oil-Binder Ink Prints Using Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR FT-IR): A Case Study with Postage Stamps from the Łódź Ghetto

The ability to determine the production date for a painting or print would be of great benefit in the forensic detection of fakes and forgeries as well as in art history and conservation. Changes in the pigments used at different times have been invaluable in detecting incongruities that suggest fraud, but relatively little work has been published that uses the chemical changes in oil binders as they dry to determine when an ink print or an oil painting was made. Using attenuated total reflectance-Fourier transform infrared (ATR FT-IR) spectroscopy and samples with known dates, we calibrate the drying of oil binders in inks and paints and cross-validate the paints with pyrolysis-gas chromatography-mass spectrometry (Py-GC-MS). We apply the ink calibration to a case study involving the age determination of possible philatelic counterfeits from a World War II Jewish Ghetto in Occupied Poland, obtaining a date of 1946 ± 6 (1 s, n = 9) for the genuine stamps, and 1963 ± 16 (1 s, n = 19) for the various reproductions.

Multivariate Analysis of Combined Fourier Transform Near-Infrared Spectrometry (FT-NIR) and Raman Datasets for Improved Discrimination of Drying Oils

This work explores the application of chemometric techniques to the analysis of lipidic paint binders (i.e., drying oils) by means of Raman and near-infrared spectroscopy. These binders have been widely used by artists throughout history, both individually and in mixtures. We prepared various model samples of the pure binders (linseed, poppy seed, and walnut oils) obtained from different manufacturers. These model samples were left to dry and then characterized by Raman and reflectance near-infrared spectroscopy. Multivariate analysis was performed by applying principal component analysis (PCA) on the first derivative of the corresponding Raman spectra (1800-750 cm(-1)), near-infrared spectra (6000-3900 cm(-1)), and their combination to test whether spectral differences could enable samples to be distinguished on the basis of their composition. The vibrational bands we found most useful to discriminate between the different products we studied are the fundamental ν(C=C) stretching and methylenic stretching and bending combination bands. The results of the multivariate analysis demonstrated the potential of chemometric approaches for characterizing and identifying drying oils, and also for gaining a deeper insight into the aging process. Comparison with high-performance liquid chromatography data was conducted to check the PCA results.

Electrospray ionization linear trap quadrupole Orbitrap in analysis of old tempera paintings: application to nineteenth-century Orthodox icons

Proteomic approach in combination with mass spectrometry demonstrates a great potential for identification of proteinaceous materials in works of art. In this study we used a linear trap quadrupole Orbitrap (LTQ-Orbitrap), a state-of-the-art mass spectrometer for parts per million accuracy analyses of peptides behind tryptic hydrolysis. After the efficiency of the proteomic method was confirmed for reference and model samples, micro-samples from historical paintings were for the first time analysed using this technique. Superior performances of the liquid chromatography-mass spectrometry approach using a LTQ-Orbitrap mass spectrometer allowed identification of egg yolk peptides in two samples from nineteenth-century Orthodox icons, indicating egg tempera as the painting technique. Accurate precursor ion masses, in the range of ±2 ppm, and retention times of tryptic peptides strengthen protein identification. Additionally, in all historical samples the presence of animal glues suggested that the ground layer was likely bound using bovine collagen. Comparing to results acquired using matrix-assisted laser desorption/ionization time-of-flight tandem mass spectrometry in our previous study, here we achieved higher ion scores and protein scores, better sequence coverage and more identified proteins. In fact, a combination of the two mass spectrometric techniques provided overlapping and complementary data, related to the detection of peptides with different physicochemical properties.

Interactions between inorganic pigments and proteinaceous binders in reference paint reconstructions

The degradation of the proteinaceous binders, ovalbumin (OVA) and casein, and their interactions with azurite (Cu(3)(CO(3))(2)(OH)(2)), calcium carbonate (CaCO(3)), hematite (Fe(2)O(3)) and red lead (Pb(3)O(4)) pigments were studied. A multi-analytical approach based on Thermogravimetric Analysis (TG), Differential Scanning Calorimetry (DSC), Fourier Transform Infrared Spectroscopy (FTIR) and Size Exclusion Chromatography (SEC) was used. The research was carried out on a set of paint reconstructions, which were analysed before and after artificial light ageing. We highlighted that in most cases the inorganic pigments interact with both proteins by decreasing their thermal stability and their intermolecular β-sheet content, and that ageing induces aggregation. We hypothesized that pigments intercalate between protein molecules, producing a partial disruption to the protein-protein intermolecular interaction. In the case of casein, these phenomena continued during ageing. In fact, we observed a complete disappearance of intermolecular β-sheets and an increase in intramolecular β-sheets and random coil during ageing. This result is in agreement with the structural properties of casein, whose aggregation is known to be induced by hydrophobic interactions. On the other hand, in aged OVA paint replicas, we observed the formation of new intermolecular β-sheets and an increase in thermostability. In addition FTIR showed oxidation of the side chains of the aged OVA/hematite sample and aged casein pigment samples, and SEC highlighted hydrolysis phenomena in aged carbonate, azurite and red lead/OVA complexes and in aged casein/calcium carbonate and casein/azurite samples.