Shedding Light on Daylight Fluorescent Artists’ Pigments, Part 1: Composition

Abstract

ABSTRACT The vivid colors and luminosity of daylight fluorescent pigments have secured them a spot on the artists’ palette since their inception in the 1930s. However, these colorants pose unique challenges to conservators due to their complex formulations consisting of a mixture of dyes and optical brighteners impregnated in a formaldehyde-rich polymer resin. Furthermore, these pigments are often intended for display under blacklights, which accelerate fading and polymer degradation reactions and pose demanding inpainting requirements of conservators. This research provides a comprehensive report on the dye composition of pigments made by the major European and American manufacturers, as well as those sold as artists’ dry pigments. Differences in the dyes and additives were identified for the first time using liquid chromatography with mass spectrometry, while subtle variations in the resin matrix were revealed using infrared spectroscopy. Specific identification of the dye and matrix components can differentiate the pigment sources and be taken advantage of in conservation treatments. This is demonstrated in the analysis of Stefano Castronovo’s fluorescent Mona Lisa painting on a Stephen Sprouse designed silver leather motorcycle jacket. Analysis of a mid-twentieth century designer’s manual produced by the Day-Glo Corporation revealed how the pigments’ dye components have shifted over time.