TITLE

FT-NIR spectroscopy for non-invasive identification of natural polymers and resins in easel paintings

AUTHOR(S)
Vagnini, M.; Miliani, C.; Rocchi, P.; Brunetti, B. G.; Sgamellotti, A.; Cartechini, L.
PUB. DATE
December 2009
SOURCE
Analytical & Bioanalytical Chemistry;Dec2009, Vol. 395 Issue 7, p2107
SOURCE TYPE
Academic Journal
DOC. TYPE
Article
ABSTRACT
In the present study, the analytical strengths and limitations of near-infrared (NIR) spectroscopy to non-invasively characterize organic components in painting materials have been investigated. In spite of the increased amount of information available today from advanced modern analytical instrumentations dedicated to cultural heritage, the non-invasive identification of materials belonging to the wide class of organic compounds historically used in paintings is still a challenging task. Near-infrared spectroscopy offers several attractive features that make this technique particularly suitable to this purpose. In fact, it is non-invasive, allows for non-contact measurements in reflectance mode, gives molecular information on complex macromolecules, and can be performed on-site by means of portable devices. First-derivative transformation of reflectance spectroscopic data has been applied to provide a simple and fast way to deduce more information from NIR spectra. This approach has allowed spectral features to be identified that can be useful to distinguish different compounds belonging to the classes of lipids, proteins, and resins. To this purpose, at first, a spectral database of pure standard has been collected. Our analytical approach was then successfully validated on pictorial models reproducing the typical stratigraphy of an easel painting. As final step, the study of a real painting has been attempted and a drying oil, animal glue, and a terpenic natural resin, as well as an earth pigment were clearly identified, as cross-validated by GC-MS analysis.
ACCESSION #
45362959

 

Related Articles

  • action painting.  // Artist's Illustrated Encyclopedia;2001, p17 

    A definition for the term "action painting" is presented. It refers to painting in which the physical activity of the artist is apparent.

  • air eraser.  // Artist's Illustrated Encyclopedia;2001, p19 

    A definition for the term "air eraser" is presented. It refers to a tool that uses a stream of abrasive particles to remove paint, ink, dirt, rust and other surface materials a miniature sand blaster.

  • stand oil.  // Artist's Illustrated Encyclopedia;2001, p419 

    A definition of the term "stand oil" is presented. It refers to a thick oil produced by heating linseed oil. Stand oil is used by oil painters as an ingredient in painting mediums and in some varnishes.

  • studio easel.  // Artist's Illustrated Encyclopedia;2001, p426 

    A definition of the term "studio easel" is presented. It refers to a device intended to support a painting in progress in the studio.

  • transfer.  // Artist's Illustrated Encyclopedia;2001, p446 

    A definition of the term "transfer" is presented. It means to copy a drawing from one support to another. It also means to remove a paint film, sometimes including the ground, from one support and fasten it to another in restoration.

  • TECHNICAL Q+A. Sutherland, Jane // American Artist;Jan2006, Vol. 70 Issue 761, p74 

    The article addresses questions about painting including how to obtain a matte finish for oil paintings, the effectiveness of using the oven to dry an oil painting and the protection provided by gesso base coating for a preliminary drawing.

  • ARTMART.  // American Artist;Jun2006, Vol. 70 Issue 766, p76 

    The article recommends several artists' materials including Interactive professional-grade acrylic from Chroma and American Journey Sketchbox easel from Cheap Joe's.

  • LUMEN MARTIN WINTER.  // American Artist;Sep1966, Vol. 30 Issue 7, p48 

    The author discusses his approach to watercolor painting with an illustration using his work "Santa Ana, New Mexico." He uses materials that are lasting like colors that will retain their brilliance and paper which has been produced without the use of acids. He prefers to use smooth paper over...

  • Technical Page. MAYER, RALPH // American Artist;Nov1972, Vol. 36 Issue 364, p52 

    The article presents questions and answers related to painting including whether there is an explanation for the different ways of diluting egg tempera, how to achieve a high gloss effect using gold leaf in acrylic polymer painting using acrylic gloss medium, and the reasons for miting the...

Share

Read the Article

Courtesy of THE LIBRARY OF VIRGINIA

Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics