Modern Oil Paints Research Articles

Model study of modern oil-based paint media by triacylglycerol profiling in positive and negative ionization modes

Lipid binders have traditionally been determined in paintings by using gas chromatography/mass spectrometry (GC/MS) to identify the characteristic profiles and ratios of fatty acids . However, the presence of mixtures in contemporary and modern oil paints makes the GC/MS determination of fatty acids insufficient to fully characterize the lipid binding media. In this study we prove that triacylglycerol (TAG) profiling by high-performance liquid chromatography with high-resolution tandem mass spectrometry, using ESI in positive and negative ionization modes is highly effective. We exploited this analytical approach to study the curing and degradation processes undergone by six plant oils used in the formulation of media in modern paints, using both natural and artificial ageing experiments. We believe that is the first time that a negative ionization mode has been applied for this purpose and that a survey with HPLC-ESI-Q-ToF has been carried out to study the ageing kinetics of plant oils. TAG profiling enabled us to study the evolution over time of the constituents of modern oils, with respect to curing and ageing. The data analyzed in this study demonstrate that our approach is efficient to study the oxidation of TAGs during ageing. The data also improve current knowledge on the properties of vegetable oils, which could lead to the development of new paint materials and conservation treatments for modern and contemporary works of art.

Novel application of liquid chromatography/mass spectrometry for the characterization of drying oils in art: Elucidation on the composition of original paint materials used by Edvard Munch (1863–1944)

Modern oil paints, introduced at the beginning of the 20th century, differ from those classically used in antiquity in their chemical and compositional features. The main ingredients were still traditional drying oils, often used in mixtures with less expensive oils and added with several classes of additives. Consequently, detailed lipid profiling, together with the study of lipid degradation processes, is essential for the knowledge and the conservation of paint materials used in modern and contemporary art.A multi-analytical approach based on mass spectrometry was used for the study of original paint materials from Munch's atelier, owned by the Munch Museum in Oslo. The results obtained in the analysis of paint tubes were compared with those obtained by characterizing a paint sample collected from one of the artist's sketches for the decoration of the Festival Hall of the University of Oslo (1909–1916).Py-GC/MS was used as screening method to evaluate the presence of lipid, proteic or polysaccaridic materials. GC/MS after hydrolysis and derivatization allowed us to determine the fatty acid profile of the paint tubes, and to evaluate the molecular changes associated to curing and ageing. The determination of the fatty acid profile is not conclusive for the characterization of complex mixtures of lipid materials, thus the characterization of the triglyceride profiles was performed using an analytical procedure based on HPLC-ESI-Q-ToF.This paper describes the first application of HPLC-ESI-Q-ToF for the acquisition of the triglyceride profile in a modern paint sample, showing the potentialities of liquid chromatography in the field of lipid characterization in modern paint materials. Moreover, our results highlighted that the application of this approach can contribute to address dating, authenticity and conservation issues relative to modern and contemporary artworks.

A cause of water-sensitivity in modern oil paint films: The formation of magnesium sulphate

Unvarnished twentieth-century oil paintings are often sensitive to aqueous swabbing, a method routinely employed by conservators for surface cleaning. This study proposes a connection between sensitivity and the presence of magnesium sulphate heptahydrate which has been identified on the surface of some of water-sensitive paintings. The probable source of magnesium is magnesium carbonate, an additive in some twentieth-century oil paints, which has reacted with atmospheric sulphur dioxide (SO2). Films made using modern manufactured paints and formulations made in the laboratory were exposed to gaseous SO2 and raised relative humidity and examined using scanning electron microscopy with energy dispersive X-ray spectroscopy and X-ray diffraction to characterize the crystalline entities. Films containing magnesium carbonate formed magnesium sulphite and sulphate hydrates. Films containing zinc oxide were also investigated. These formed zinc and sulphur containing salts. Sensitivity to swabbing with water before and after exposure was evaluated. Films that developed salts, demonstrated increased sensitivity to aqueous swabbing after exposure to SO2. Findings suggest that increased water sensitivity may be due to a combination of the formation of hygroscopic degradation products and to weakening of the paint film due to salt-induced disruption of the surface.

Differential and scanning-mode external PIXE for the analysis of the painting “Ritratto Trivulzio” by Antonello da Messina

Extensive PIXE investigations have been performed at the LABEC accelerator laboratory in Florence on the painting “Ritratto Trivulzio” by Antonello da Messina, one of the great Italian masters of XV Century and a pioneer in modern oil painting. It is well known that a complete and unambiguous characterisation of materials in paintings is often difficult, owing to their complex structure. For the “Ritratto Trivulzio”, the combination of advanced variants of PIXE, such as differential and scanning-mode analysis, provided a relevant contribution to the characterisation of paint layers, in terms of composition and structure, in a totally non-invasive and non-destructive way. Single-spot mode PIXE with external proton beams of about half millimetre diameter was first used for a general characterisation of different areas of the painting. Differential PIXE performed in many spots led to reconstruct the sequence of paints employed by the artist and to estimate in some cases the local paint layer thickness. A second run carried out with the external scanning microbeam facility, using a 3 MeV proton beam of about 80 μm size, was then crucial to clarify some issues raised by the first analysis. In particular, elemental maps from selected areas helped to understand the way some colour shades had been obtained on the red mantle of the portrayed gentleman, using different pigments irregularly distributed on the surface.