Goya's artwork imaging with Terahertz waves

In this paper we use a Terahertz (THz) time-domain system to image and analyze the structure of an artwork attributed to the Spanish artist Goya painted in 1771. The THz images show features that cannot be seen with optical inspection and complement data obtained with X-ray imaging that provide evidence of its authenticity, which is validated by other independent studies. For instance, a feature with a strong resemblance with one of Goya's known signatures is seen in the THz images. In particular, this paper demonstrates the potential of THz imaging as a complementary technique along with X-ray for the verification and authentication of artwork pieces through the detection of features that remain hidden to optical inspection.

Household hazardous waste: composition of paint waste

'Paint waste', a part of the 'household hazardous waste', amounting to approximately 5 tonnes was collected from recycling stations in two Danish cities. Sorting and analyses of the waste showed paint waste comprised approximately 65% of the mass, paint-like waste (cleaners, fillers, etc.) comprised 15-25% and foreign items comprised 10-20%.Water-based paint was the dominant part of the paint waste. The chemical composition of the paint waste and the paint-like waste was characterized by an analysis of 27 substances in seven waste fractions. The content of critical substances was low and the paint waste was less contaminated with heavy metals than was the ordinary household waste. This may suggest that households no longer need to source-segregate their paint if the household waste is incinerated, since the presence of a small quantity of solvent-based paint will not be harmful when incinerated. Allowing household paint waste to be collected with ordinary household waste is expected to reduce the cost of handling household hazardous waste, since paint waste in Denmark comprises the major fraction of household hazardous waste.

Nondestructive multispectral reflectoscopy between 800 and 1900 nm: An instrument for the investigation of the stratigraphy in paintings

In the present work, a powerful tool for the investigation of paintings is presented. This permits the tuneable multispectral real time imaging between 200 and 5000 nm and the simultaneous multispectral acquisition of spectroscopic data from the same region. We propose the term infrared reflectoscopy for tuneable infrared imaging in paintings (Chryssonlakis and Chassery, The Application of Physicochemical Methods of Analysis and Image Processing Techniques to Painted Works of Art, Erasmus Project ICP-88-006-6, Athens, June, 1989) for a technique that is effective especially when the spectroscopic data acquisition is performed between 800 and 1900 nm. Elements such as underdrawings, old damage that is not visible to the naked eye, later interventions or overpaintings, hidden signatures, nonvisible inscriptions, and authenticity features can thus be detected with the overlying paint layers becoming successively "transparent" due to the deep infrared penetration. The spectroscopic data are collected from each point of the studied area with a 5 nm step through grey level measurement, after adequate infrared reflectance (%R) and curve calibration. The detection limits of the infrared detector as well as the power distribution of the radiation coming out through the micrometer slit assembly of the monochromator in use are also taken into account. Inorganic pigments can thus be identified and their physicochemical properties directly compared to the corresponding infrared images at each wavelength within the optimum region. In order to check its effectiveness, this method was applied on an experimental portable icon of a known stratigraphy.

An experimental study to investigate the feasibility to classify paints according to neurotoxicological risks: occupational air requirement (OAR) and indoor use of alkyd paints

The concept of occupational air requirement (OAR), representing the quantity of air required to dilute the vapor concentration in the work environment resulting from 1 l product to a concentration below the occupational exposure limit (OEL), was considered to have potential to discriminate between paints that can and cannot be used safely. The OAR is a simple algorithm with the concentration of volatile organic compound (VOC) in the paint, a discrete evaporation factor and the neurotoxicological effects-based OEL. Conceptually, OAR categories of paints for construction and maintenance applications could be identified that can be applied manually without exceeding OELs with no appreciable room ventilation. Five painters volunteered in an exposure study aimed at testing the OAR approach in practice. Total exposure to VOC was assessed in 30 experiments during the application of 0.5 l of paint in a defined 'standard indoor paint job'. Fifteen paints were prepared, reflecting differences in solvents (percentage, volatility, toxicity) with a range of OAR levels from 43 to 819 m(3)/l. Exposure was assessed by personal air sampling (PAS). In addition, real-time air monitoring was performed. All tests were conducted at minimum ventilation rate (< or=0.33 h(-1)). PAS results were expressed as percentage of the nominal OEL and ranged from 8 to 93% for high solids and from 38 to 168% for conventional paints. In general, higher VOC contents resulted in higher exposure. High volatile paints showed a statistically significant faster increase of VOC concentration with time compared with paints containing low volatile solvents. A significant relationship between OAR value and exposure was observed (R(2) = 0.73). The experiments indicate that OAR-based classification of paints predicts and discriminates risk levels for exposure to neurotoxic paint-solvents in indoor painting fairly well.

Optical characterization of varnish films by spectroscopic ellipsometry for application in artwork conservation

The specific aim of this paper is to measure the optical constants of fresh varnish layers up to a thickness of 10 mum by spectroscopic ellipsometry. It is the first time that this technique has been used in artwork conservation and it may prove very promising due to its nondestructive character. Samples of fresh dammar varnish (natural resin) and Paraloid B72 (synthetic resin) applied on glass and carbon black acrylic paint were analyzed. Both varnishes were considered as perfect dielectrics, and the real part of their refractive index was described by the Cauchy model: n (lambda) = A + B/lambda(2) + C/lambda(4). The Cauchy coefficients for dammar varnish and Paraloid B72 were then determined for layers of known thickness. The ellipsometric data were fitted to a model, which includes a mixed varnish-air layer. The optical properties of this layer were calculated by the Bruggeman effective medium approximation. In the case of carbon black acrylic paint, another mixed layer (paint-varnish) was added to the model. The results are very close to the values given in the literature. Given the measurement reproducibility, the results show that ellipsometry can discriminate between dammar varnish and Paraloid B72. This is very important in artwork conservation studies, because it has been done by time-consuming, destructive techniques up to now. Future work includes measurements of other types of natural and synthetic varnishes, in an attempt to introduce a nondestructive method for picture varnish identification and aging studies.

Rapid forensic analysis and identification of ''lilac'' architectural finishes using Raman spectroscopy

The potential of Raman spectroscopy to discriminate between architectural finishes (household paint) has been investigated using a test set of 51 ''lilac'' paints and three different excitation wavelengths. The spectra obtained with visible excitation typically displayed a series of intense Raman bands on a featureless fluorescence background but the spectra of all the paints studied had essentially identical bands. With 785 nm excitation, although the same bands that dominated the 514 nm spectra were still observed, other bands with comparable intensity also appeared. The two strongest scattering constituents were identified as a dioxazine dye, Violet 23 and beta-Cu(phthalocyanine). A scatter plot of the intensities of marker bands for these constituents (normalized to the strong rutile bands that were always present) showed that, despite the fact that the sample set spanned a wide range of rutile : dioxazine dye : phthalo- cyanine ratios, many of the samples had very similar ratios and could not be discriminated. However, all the samples (even those with similar relative proportions of the main constituents) could be discriminated on the basis of their minor constituents, either by manually measuring band intensities or through the creation and searching of spectral libraries.

The application of a standard color coding system to paint in forensic science

The procedure described for the measurement of paint colors represents an attempt to standardize the measurement of color in the forensic science service and provides a means of communicating colors between individuals. The effect of sample size on color comparisons has been discussed. It has been shown that color data collected from many control samples of paint flakes can provide the frequency of occurrence of paint colors. The errors involved in color comparisons have been assessed and the system has been shown to be a practicable one.