Time-Dependent ATR-FTIR Spectroscopic Studies on Fatty Acid Diffusion and the Formation of Metal Soaps in Oil Paint Model Systems

Cold-Responsive Hyaluronated Upconversion Nanoplatform for Transdermal Cryo-Photodynamic Cancer Therapy

Cryotherapy leverages controlled freezing temperature interventions to engender a cascade of tumor-suppressing effects. However, its bottleneck lies in the standalone ineffectiveness. A promising strategy is using nanoparticle therapeutics to augment the efficacy of cryotherapy. Here, a cold-responsive nanoplatform composed of upconversion nanoparticles coated with silica - chlorin e6 - hyaluronic acid (UCNPs@SiO2-Ce6-HA) is designed. This nanoplatform is employed to integrate cryotherapy with photodynamic therapy (PDT) in order to improve skin cancer treatment efficacy in a synergistic manner. The cryotherapy appeared to enhance the upconversion brightness by suppressing the thermal quenching. The low-temperature treatment afforded a 2.45-fold enhancement in the luminescence of UCNPs and a 3.15-fold increase in the photodynamic efficacy of UCNPs@SiO2-Ce6-HA nanoplatforms. Ex vivo tests with porcine skins and the subsequent validation in mouse tumor tissues revealed the effective HA-mediated transdermal delivery of designed nanoplatforms to deep tumor tissues. After transdermal delivery, in vivo photodynamic therapy using the UCNPs@SiO2-Ce6-HA nanoplatforms resulted in the optimized efficacy of 79% in combination with cryotherapy. These findings underscore the Cryo-PDT as a truly promising integrated treatment paradigm and warrant further exploring the synergistic interplay between cryotherapy and PDT with bright upconversion to unlock their full potential in cancer therapy.

Nanoconfined Water Clusters in Zinc White Oil Paint

Pigments in oil paint are bound by a complex oil polymer network that is prone to water-related chemical degradation. We use cryo-Fourier-transform infrared spectroscopy and differential scanning calorimetry to study how water distributes inside zinc white oil paint. By measuring water freezing and melting transitions, we show that water-saturated zinc white oil paint contains both liquid-like clustered water and nonclustered water. A comparison of titanium white paint and nonpigmented model systems indicates that water clustering happens near the pigment-polymer interface. The cluster size was estimated in the nanometer range based on the ice melting and freezing temperatures and on the position of the O-D vibration band. As liquid-like water can play a crucial role in the dissolution and transport of ions and molecules, understanding the factors that favor this phenomenon is essential for establishing safe conditions for the conservation of painted works of art.

Traces of water catalyze zinc soap crystallization in solvent-exposed oil paints

The crystallization of metal soaps in polymer matrices is a complex process that affects the stability of oil paintings, as well as the properties of commercial ionomer materials. In the context of conservation of paintings, it is crucial to investigate the influence of solvent exposure on such detrimental chemical processes. Using Fourier transform infrared spectroscopy and a polymer model system that contains metastable amorphous zinc soaps, it is shown that water induces zinc soap crystallization, while solvent swelling alone has no effect. In particular fast-diffusing polar organic solvents with water impurities are able to induce extensive crystallization, delivering high concentrations of water quickly deep into paint layers. Finally, it is demonstrated, both with the model system and real oil paint samples, that even with very short solvent exposure times, significant quantities of crystalline zinc soaps are formed. This strong effect of water impurities in common solvents gives reason to be cautious when conservation treatments are being considered for oil paints that contain zinc white or other water-sensitive chemicals.

Micro-spectroscopic study of late 19th-early 20th century tube paints

Many issues in the conservation of paintings from the early modern period are still unresolved due to lack of information on paints from the late 19th and early 20th centuries, in particular their production, formulations, and later degradation processes. The inconsistency of the names that paint manufacturers chose for their products furthermore compounds the challenges faced by conservators and chemists wishing to study them. This paper addresses a number of these issues through investigations of commercial tube oil paints from a paint box owned by the Norwegian painter Harriet Backer (1845-1932). Samples were analyzed using a multi-instrumental approach. Micro-attenuated total reflection Fourier transform infrared spectroscopy and micro-Raman spectroscopy - supported by micro-X-ray powder diffraction - allowed the identification of binders, pigments, and extenders. The data highlight the use of materials that were new at the time and not reported in the manufacturer's catalog. Furthermore, zinc stearate has been detected for the first time. Its detection and the absence of any zinc-based pigments confirms that zinc stearate was already used as dispersing agent in paint formulations at that time.

Comparison of ATR–FTIR and O-PTIR Imaging Techniques for the Characterisation of Zinc-Type Degradation Products in a Paint Cross-Section

ATR–FTIR (attenuated total reflection–Fourier-transform infrared) microscopy with imaging is widely used in the heritage field to characterise complex compositions of paint cross-sections. However, some limitations include the need for ATR crystal contact with the sample and the inability to resolve particle size below the IR diffraction limit. Recently, a novel O-PTIR (optical-photothermal infrared) spectroscopy technique claimed to open a new avenue for non-invasive, efficient, and reliable analysis at sub-micron resolution. O-PTIR produces transmission-like FTIR spectra for interpretation, without the need to touch the sample, which are highly favourable attributes for analysing heritage samples. This paper reports the comparison of O-PTIR and ATR–FTIR techniques applied to a cross-section embedding a thin paint fragment that delaminated from a late 19th to early 20th-century oil portrait. The hazy paint fragment consisted of zinc soaps (both crystalline and amorphous), gordaite (NaZn₄Cl(OH)₆SO₄·6H₂O), and zinc lactate, that could not all be well-resolved with ATR–FTIR imaging. With O-PTIR analysis, the degradation compounds could be resolved at sub-micron resolution with an equivalent or better signal-to-noise ratio. This case study shows how the two techniques can be used to obtain comprehensive information at a broad level with ATR–FTIR and a detailed level with O-PTIR.

Microscale mechanochemical characterization of drying oil films by in situ correlative Brillouin and Raman spectroscopy

Correlative Brillouin and Raman microspectroscopy (BRaMS) is applied for the in situ monitoring of the chemical and physical changes of linseed oil during polymerization. The viscoelastic properties of the drying oil throughout the phase transition were determined by Brillouin light scattering (BLS) and joined to the Raman spectroscopic information about the chemical process responsible for the oil hardening. A comparative study was then performed on an oil mock-up containing ZnO, one of the most common white pigments used in cultural heritage. The intriguing outcomes open new research perspectives for a deeper comprehension of the processes leading to the conversion of a fluid binder into a dry adhering film. The description of both chemical and structural properties of the polymeric network and their evolution are the basis for a better understanding of oil painting degradation. Last, as a feasibility test, BRaMS was applied to study a precious microfragment from J. Pollock's masterpiece Alchemy.

Modelling the Interaction between Carboxylic Acids and Zinc Oxide: Insight into Degradation of ZnO Pigments

Computational modelling applied to cultural heritage can assist the characterization of painting materials and help to understand their intrinsic and external degradation processes. The degradation of the widely employed zinc oxide (ZnO)—a white pigment mostly used in oil paints—leads to the formation of metal soaps, complexes of Zn ions and long-chain fatty acids coming from the degradation of the oil binder. Being a serious problem affecting the appearance and the structural integrity of many oil paintings, it is relevant to characterize the structure of these complexes and to understand the reaction pathways associated with this degradation process. Density functional theory (DFT) calculations were performed to investigate the adsorption of the acetate and acetic acid on relatively large ZnO clusters and the formation of Zn–acetate complexes. Carboxylic acids with longer alkyl chains were then investigated as more realistic models of the fatty acids present in the oil medium. In addition, DFT calculations using a periodic ZnO slab were performed in order to compare the obtained results at different levels of theory. Optimization calculations as well as the formation energies of the ZnO@carboxylate coupled systems and the thermodynamics leading to possible degradation products were computed. Our results highlight the potential for DFT calculations to provide a better understanding of oil paint degradation, with the aim of contributing to the development of strengthening and conservation strategies of paintings.

Recent advances and applications to cultural heritage using ATR-FTIR spectroscopy and ATR-FTIR spectroscopic imaging

Scientific investigation of cultural heritage objects plays a vital role in a responsible modern approach to conservation and archaeology. Recent advances in spectroscopy, such as the development of Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy and ATR-FTIR spectroscopic imaging, have opened up a window of opportunities for characterisation of materials in artefacts and collections from museums. This review summarises some of the recent advances and applications of these ATR-FTIR spectroscopic analytical techniques in the area of cultural heritage studies, including examples of cross-sections of oil paintings, paper, textiles, plastic objects, potteries, glasses and mineral artefacts. Two of the major advantages of ATR mode measurements are minimal or no requirements for sample preparation and its provision for high lateral spatial resolution. In addition to conventional single point detection, two-dimensional mapping and imaging is especially beneficial for chemical visualisation of multi-layered structure cultural objects. This review also explores the implications of these advantages as well as some limitations and provides a brief outlook for the possible future developments in this area.

Micro to Nano: Multiscale IR Analyses Reveal Zinc Soap Heterogeneity in a 19th-Century Painting by Corot

Formation and aggregation of metal carboxylates (metal soaps) can degrade the appearance and integrity of oil paints, challenging efforts to conserve painted works of art. Endeavors to understand the root cause of metal soap formation have been hampered by the limited spatial resolution of Fourier transform infrared microscopy (μ-FTIR). We overcome this limitation using optical photothermal infrared spectroscopy (O-PTIR) and photothermal-induced resonance (PTIR), two novel methods that provide IR spectra with ≈500 and ≈10 nm spatial resolutions, respectively. The distribution of chemical phases in thin sections from the top layer of a 19th-century painting is investigated at multiple scales (μ-FTIR ≈ 10² μm³, O-PTIR ≈ 10^-1 μm³, PTIR ≈ 10^-5 μm³). The paint samples analyzed here are found to be mixtures of pigments (cobalt green, lead white), cured oil, and a rich array of intermixed, small (often ≪ 0.1 μm³) zinc soap domains. We identify Zn stearate and Zn oleate crystalline soaps with characteristic narrow IR peaks (≈1530-1558 cm^-1) and a heterogeneous, disordered, water-permeable, tetrahedral zinc soap phase, with a characteristic broad peak centered at ≈1596 cm^-1. We show that the high signal-to-noise ratio and spatial resolution afforded by O-PTIR are ideal for identifying phase-separated (or locally concentrated) species with low average concentration, while PTIR provides an unprecedented nanoscale view of distributions and associations of species in paint. This newly accessible nanocompositional information will advance our knowledge of chemical processes in oil paint and will stimulate new art conservation practices.

Capability of Far-Infrared for the selective identification of red and black pigments in paint layers

Artworks are complex objects that merit study and preservation. Far-infrared spectroscopy in ATR mode appears to be a suitable technique for this purpose because it enables information to be obtained regarding the material's composition in a non-destructive way. The use of Far-infrared is especially interesting because most organic compounds do not absorb in this energy range, suggesting the possibility of identifying inorganic pigments. Based on works performed by two research groups from the University of Bologna and the University of Tartu, this study attempts to obtain additional information regarding the capabilities and limitations of Far-infrared spectroscopy when it is applied to objects as complex as artworks. This article first studies the capability of the technique for identifying pigments by following the stability of the position of their absorption bands when mixed with linseed oil, the minimum amount of pigment necessary to be detected and how this amount changes when it is part of a paint layer. The consequences of the pigment: linseed oil interaction and the ageing process are also studied through changes in the linseed oil signal absorptions related to the acid carboxylic and carboxylate bands. The entire study leads to the conclusion that Far-Infrared in ATR mode is an interesting option for the selective identification of some inorganic pigments, but their potential application depends on each case considered.

A Critical Review on the Analysis of Metal Soaps in Oil Paintings

Up to 70 % of the oil paintings conserved in collections present metal soaps, which result from the chemical reaction between metal ions present in the painted layers and free fatty acids from the lipidic binders. In recent decades, conservators and conservation scientists have been systematically identifying various and frequent conservation problems that can be linked to the formation of metal soaps. It is also increasingly recognized that metal soap formation may not compromise the integrity of paint so there is a need for careful assessment of the implications of metal soaps for conservation. This review aims to critically assess scientific literature related to commonly adopted analytical techniques for the analysis of metal soaps in oil paintings. A comparison of different analytical methods is provided, highlighting advantages associated with each, as well as limitations identified through the analysis of reference materials and applications to the analysis of samples from historical paintings.

Unveiling the Structure and Reactivity of Fatty-Acid Based (Nano)materials Thanks to Efficient and Scalable 17O and 18O-Isotopic Labeling Schemes

Fatty acids are ubiquitous in biological systems and widely used in materials science, including for the formulation of drugs and the surface-functionalization of nanoparticles. However, important questions regarding the structure and reactivity of these molecules are still to be elucidated, including their mode of binding to certain metal cations or materials surfaces. In this context, we have developed novel, efficient, user-friendly, and cost-effective synthetic protocols based on ball-milling, for the 17O and 18O isotopic labeling of two key fatty acids which are widely used in (nano)materials science, namely stearic and oleic acid. Labeled molecules were analyzed by 1H and 13C solution NMR, IR spectroscopy, and mass spectrometry (ESI-TOF and LC-MS), as well as 17O solid state NMR (for the 17O labeled species). In both cases, the labeling procedures were scaled-up to produce up to gram quantities of 17O- or 18O-enriched molecules in just half-a-day, with very good synthetic yields (all ≥84%) and enrichment levels (up to an average of 46% per carboxylic oxygen). The 17O-labeled oleic acid was then used for the synthesis of a metal soap (Zn-oleate) and the surface-functionalization of ZnO nanoparticles (NPs), which were characterized for the first time by high-resolution 17O NMR (at 14.1 and 35.2 T). This allowed very detailed insight into (i) the coordination mode of the oleate ligand in Zn-oleate to be achieved (including information on Zn···O distances) and (ii) the mode of attachment of oleic-acid at the surface of ZnO (including novel information on its photoreactivity upon UV-irradiation). Overall, this work demonstrates the high interest of these fatty acid-enrichment protocols for understanding the structure and reactivity of a variety of functional (nano)materials systems using high resolution analyses like 17O NMR.

The Identification of Multiple Crystalline Zinc Soap Structures Using Infrared Spectroscopy

The formation of crystalline zinc soaps (zinc salts of fatty acids) in oil paint layers is a common sign of paint degradation. In this study, we have used infrared spectroscopy to systematically identify differences in structure and composition of crystalline zinc soap phases, and report data analysis methods for structure attribution in challenging oil paint samples. Supported by reported crystal structures, it was possible to distinguish two distinct types of zinc soap geometry: a highly symmetrical packing for long-chain saturated soaps (type B) and an alternating packing for zinc soaps with short, unsaturated, or dicarboxylic chains (type A). These two types of packing can be identified by a single or split asymmetric COO stretch vibration band. With this new information, we studied the structure and composition of zinc soaps formed in a zinc white model paint and in a cross-section from the painting Equations in Space by Lawren Harris. Using non-negative matrix factorization, band integration and band position maps, it was possible to clearly identify zinc azelate in the model paint and map its spatial distribution. The same methods showed that the paint cross-section contained both types of zinc soap structure within the same paint layer, with the less symmetrical structure appearing only at the interface with the ground layer. The results give valuable information on the internal chemistry of oil paint layers, and the demonstrated methods can find widespread application for in-depth analysis of infrared microscopy data.

Nano- to microscale three-dimensional morphology relevant to transport properties in reactive porous composite paint films

The quantitative evaluation of the three-dimensional (3D) morphology of porous composite materials is important for understanding mass transport phenomena, which further impact their functionalities and durability. Reactive porous paint materials are composites in nature and widely used in arts and technological applications. In artistic oil paintings, ambient moisture and water and organic solvents used in conservation treatments are known to trigger multiple physical and chemical degradation processes; however, there is no complete physical model that can quantitatively describe their transport in the paint films. In the present study, model oil paints with lead white (2PbCO₃·Pb(OH)₂) and zinc white (ZnO) pigments, which are frequently found in artistic oil paintings and are associated with the widespread heavy metal soap deterioration, were studied using synchrotron X-ray nano-tomography and unilateral nuclear magnetic resonance. This study aims to establish a relationship among the paints’ compositions, the 3D morphological properties and degradation. This connection is crucial for establishing reliable models that can predict transport properties of solvents used in conservation treatments and of species involved in deterioration reactions, such as soap formation.

Non-invasive identification of lead soaps in painted miniatures

The lack of an appropriate methodology makes numerous important issues related to miniature paintings unresolved-despite the fact that the portrait miniatures of the seventeenth to the nineteenth century represent a highly specific and significant field of European fine art. One of these issues is represented by chemical degradation of miniatures and its analytical evidence. Fragility, variability of the employed materials, and detailed execution make their analysis highly challenging-since no sampling is usually allowed and any change on their surface is immediately noticeable. Therefore, this study focused on finding a fully non-invasive multi-analytical approach to describe degradation processes resulting from the interaction of lead pigments and oils. For this purpose, a representative set of miniature portraits on various supports (ivory, metal, glass) has been selected. For the first time, Pb carboxylates (lead soaps) have been evidenced in miniatures painted in oil and also in a combined technique (gum + oil). Their distribution and crystallinity was described by a combination of X-ray-based (X-ray fluorescence and X-ray diffraction) and micro-spectroscopic methods. At the same time, a number of new findings about the employed painting technique and involvement of various pigments in the degradation processes were obtained. For example, a possible saponification of a mixed Pb-Sn-Sb yellow was indicated for the first time. Although the degradation is clearly at an advanced stage, it has not shown yet any visible symptoms that might warn restorers and curators. Therefore, without targeted analysis, it would remain overlooked.

Review of the use of NMR spectroscopy to investigate structure, reactivity, and dynamics of lead soap formation in paintings

Heavy metal carboxylate or soap formation is a widespread deterioration problem affecting oil paintings and other works of art bearing oil-based media. Lead soaps are prevalent in traditional oil paintings because lead white was the white pigment most frequently chosen by old masters for the paints and in some cases for the ground preparations, until the development of other white pigments from approximately the middle of the 18th century on, and because of the wide use of lead-tin yellow. In the latter part of the 19th century, lead white began to be replaced by zinc white. The factors that influence soap formation have been the focus of intense study starting in the late 1990s. Since 2014, nuclear magnetic resonance (NMR) studies have contributed a unique perspective on the issue by providing chemical, structural, and dynamic information about the species involved in the process, as well as the effects of environmental conditions such as relative humidity and temperature on the kinetics of the reaction(s). In this review, we explore recent insights into soap formation gained through solid-state NMR and single-sided NMR techniques.

Quantifying solvent action in oil paint using portable laser speckle imaging

The exposure of oil paintings to organic solvents for varnish removal or to water for the removal of surface dirt can affect the chemical and physical properties of oil paint in an undesired way. Solvents can temporarily plasticise and swell the polymerised oil paint binding medium, enhancing both the thermal mobility and mechanical displacement of pigments embedded in this film. The enhancement of these microscopic motions can affect both the chemical and physical stability of the object as a whole. In order to minimise solvent exposure during cleaning, an analytical method that can quantitatively measure the microscopic motions induced by solvent uptake, is required first. In this study, we use Fourier Transform Laser Speckle Imaging (FT-LSI) and a newly developed portable FT-LSI setup as highly resolved motion detection instruments. We employ FT-LSI to probe pigment motion, with high spatiotemporal resolution, as a proxy for the destabilising effects of cleaning solvents. In this way, we can study solvent diffusion and evaporation rates and the total solvent retention time. In addition, qualitative spatial information on the spreading and homogeneity of the applied solvent is obtained. We study mobility in paint films caused by air humidity, spreading of solvents as a result of several cleaning methods and the protective capabilities of varnish. Our results show that FT-LSI is a powerful technique for the study of solvent penetration during oil paint cleaning and has a high potential for future use in the conservation studio.

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.

Probing the chemistry of CdS paints in The Scream by in situ noninvasive spectroscopies and synchrotron radiation x-ray techniques

The degradation of cadmium sulfide (CdS)-based oil paints is a phenomenon potentially threatening the iconic painting The Scream (ca. 1910) by Edvard Munch (Munch Museum, Oslo) that is still poorly understood. Here, we provide evidence for the presence of cadmium sulfate and sulfites as alteration products of the original CdS-based paint and explore the external circumstances and internal factors causing this transformation. Macroscale in situ noninvasive spectroscopy studies of the painting in combination with synchrotron-radiation x-ray microspectroscopy investigations of a microsample and artificially aged mock-ups show that moisture and mobile chlorine compounds are key factors for promoting the oxidation of CdS, while light (photodegradation) plays a less important role. Furthermore, under exposure to humidity, parallel/secondary reactions involving dissolution, migration through the paint, and recrystallization of water-soluble phases of the paint are associated with the formation of cadmium sulfates.

Investigation of mineralization products of lead soaps in a late medieval panel painting

Metal soaps pose significant concerns in the preservation of paintings made with oil as a binding medium. In highly alkaline environments, metal soap aggregates may undergo mineralization processes with the formation of new phases, such as carbonates, chlorides, oxides and sulfates of the metal cations that are present in pigments or paint additives. In this work, we report new examples of the mineralization of lead soaps in paint-cross sections taken from a late-medieval panel painting owned by the Museum of Cultural History at the University of Oslo. Scientific analyses were carried out with optical microscopy under UV and visible light, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy and Raman spectroscopy to investigate and characterize the nature of the compounds present in the samples. Lead (II,IV) oxide, which is presumed to be a secondary product in the mineralization of lead soaps, has been identified in lead-based paint.

Characterization of Zinc Carboxylates in an Oil Paint Test Panel

Zinc (carboxylate) soaps, formed by reactions between zinc oxide (ZnO) and fatty acids in a drying oil, are known to cause deterioration in the paint layers of modern and contemporary oil paintings. This study investigates zinc carboxylates that developed in an oil painting test panel designed to mimic the aging and degradation encountered in actual works of art. Following accelerated and natural aging, protrusions were noted on the surface of the test panel. A large protrusion with erupted gel features was extracted from the test panel, mounted in top view, and then cut to reveal the sample's cross section. The gel features, which resulted from the unreacted oil binder's separation from the paint matrix, facilitated zinc carboxylate formation. Using reflectance μ-FTIR and SEM-EDX analysis, the morphologies and spatial distributions of zinc carboxylates within the gel regions of the protrusion were studied. A concentration gradient of zinc within the gel material was observed in the cross-sectional view, indicating patterns of zinc carboxylate formation and migration.

Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing

The 20th and 21st century oil paintings are presenting a range of challenging conservation problems that can be distinctly different from those noted in paintings from previous centuries. These include the formation of vulnerable surface "skins" of medium and exudates on paint surfaces, efflorescence, unpredictable water and solvent sensitivity, and incidence of paint dripping which can occur within a few years after the paintings were completed. Physicochemical studies of modern oil paints and paintings in recent years have identified a range of possible causal factors for the noted sensitivity of painting surfaces to water and protic solvents, including the formation of water-soluble inorganic salts and/or the accumulation of diacids at the paint surface, which are oxidation products of the oil binder. Other studies have investigated the relationship between water sensitivity and the degree of hydrolysis of the binder, the proportions of free fatty and dicarboxylic acids formed, as well as the relative content of free metal soaps. Thus far, data indicate that the qualitative and quantitative composition of the nonpolymerized fractions of the oil binder cannot be solely or directly related to the solvent sensitivity of the paint film. Conclusions therefore indicate that the polymeric network, formed upon the curing of the oil, plays a fundamental role, suggesting that water sensitivity, at least in some cases, may be related to the poor development and/or polar nature of the formed polymeric network rather than the composition of the nonpolymerized fractions. Poorly developed polymeric networks, in combination with the migration of polar fractions, i.e., dicarboxylic and hydroxylated fatty acids toward the paint surface, can be related to other degradation phenomena, including the separation and migration of the paint binder which can lead to the presence of observable skins of medium as well as the more alarming phenomenon of liquefying or dripping oil paints. It is thus crucial to understand the molecular composition of these paints and their physicochemical behavior to aid the further development of appropriate conservation and preservation strategies, as the risks currently associated with surface cleaning treatments and other conservation procedures can be unacceptably high. This Account reviews the relationships between the degradation phenomena associated with modern oil paintings and the chemical composition of the oil binder and proposes a molecular model for the development of water sensitivity and other noted degradation phenomena. It is suggested that water sensitivity (and possibly other degradation phenomena) is a consequence of processes that take place upon curing, and in particular to the rate of formation and decomposition of alkoxyl and peroxyl radicals. These reactions are strongly dependent on the type of oil present, the ambient environmental conditions, and the chemical and physical nature of the pigments and additives present in the paint formulation. When the curing environment is oxidizing, the chemistry of peroxyl radicals dominates the reaction pathways, and oxidative decomposition of the paint film overwhelms cross-linking reactions.

Synchrotron Deep-UV Photoluminescence Imaging for the Submicrometer Analysis of Chemically Altered Zinc White Oil Paints

Zinc oxide (ZnO) is a II-VI semiconductor that has been used for the last 150 years as an artists' pigment under the name of zinc white. Oil paints containing zinc white are known to be prone to the formation of zinc carboxylates, which can cause protrusions and mechanical failure. In this article, it is demonstrated how a multispectral synchrotron-based deep-UV photoluminescence microimaging technique can be used to show the distribution of zinc soaps on the submicrometer scale and how this information is used to further the understanding of zinc white degradation processes in oil paint. The technique is based on the luminescence of zinc soaps in the near-UV (∼3.65 eV) upon excitation in the deep-UV (4.51 eV), involving transitions that are argued to subsequently involve ligand-to-metal and metal-to-ligand charge transfer with intermediate structural reconfiguration. Because the primary emission peak lies at a higher energy than the band gap of ZnO (3.3 eV), the signal can easily be isolated from the pigment's very intense band gap and trap state emission by employing a multispectral acquisition approach. Moreover, analysis at such short wavelengths, in combination with a UV-transparent optical setup, allows for lateral resolution on the order of 200 nm to be obtained. The unprecedented capabilities of the microimaging technique are illustrated by showing its application to the study of a historical cross section from an early 20th century painting by Piet Mondrian. Revealing the submicrometer distribution of crystalline zinc soaps in this cross section provides new insights that suggest that microfissures, the starting points of paint delamination, are the result of an overall expansion of a heavily saponified zinc white layer.

Revealing the Distribution of Metal Carboxylates in Oil Paint from the Micro- to Nanoscale

Oil paints comprise pigments, drying oils, and additives that together confer desirable properties, but can react to form metal carboxylates (soaps) that may damage artworks over time. To obtain information on soap formation and aggregation, we introduce a new tapping-mode measurement paradigm for the photothermal induced resonance (PTIR) technique that enables nanoscale IR spectroscopy and imaging on highly heterogenous and rough paint thin sections. PTIR is used in combination with μ-computed tomography and IR microscopy to determine the distribution of metal carboxylates in a 23-year old oil paint of known formulation. Results show that heterogeneous agglomerates of Al-stearate and a Zn-carboxylate complex with Zn-stearate nano-aggregates in proximity are distributed randomly in the paint. The gradients of zinc carboxylates are unrelated to the Al-stearate distribution. These measurements open a new chemically sensitive nanoscale observation window on the distribution of metal soaps that can bring insights for understanding soap formation in oil paint.

2D-IR spectroscopy for oil paint conservation: Elucidating the water-sensitive structure of zinc carboxylate clusters in ionomers

The molecular structure around metal ions in polymer materials has puzzled researchers for decades. This question has acquired new relevance with the discovery that aged oil paint binders can adopt an ionomer structure when metal ions leached from pigments bind to carboxylate groups on the polymerized oil network. The characteristics of the metal-polymer structure are expected to have important consequences for the rate of oil paint degradation reactions such as metal soap formation and oil hydrolysis. Here, we use two-dimensional infrared (2D-IR) spectroscopy to demonstrate that zinc carboxylates formed in paint films containing zinc white pigment adopt either a coordination chain- or an oxo-type cluster structure. Moreover, it was found that the presence of water governs the relative concentration of these two types of zinc carboxylate coordination. The results pave the way for a molecular approach to paintings conservation and the application of 2D-IR spectroscopy to the study of polymer structure.

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.

Time-Dependent ATR-FTIR Spectroscopic Studies on Solvent Diffusion and Film Swelling in Oil Paint Model Systems

In the restoration of paintings, solvent diffusion and swelling of polymeric oil paint binding media are important factors to consider. Common cleaning methods with organic solvents or aqueous solutions could lead to undesirable physicochemical changes in the paint in the long term, though the extent of this effect is not yet clear. We used tailored nonporous model systems for aged oil paint to measure paint swelling and solvent diffusion for a wide range of relevant solvents. Using dynamic mechanical analysis (DMA), the glass transition temperature of our model systems was found to be close to room temperature. Subsequently, with a custom sample cell and time-dependent attenuated total reflection Fourier transform infrared (ATR-FTIR) spectroscopy, we were able to accurately track swelling and diffusion processes in the polymer films. To quantify the spectroscopic data, we developed a model that completely describes the solvent migration process, including significant film swelling and non-Fickian solvent diffusion. The relation between solvent properties, the diffusion coefficient, and the swelling capacity proved to be rather complex and could not be explained using a single solvent parameter. However, it was found that strongly swelling solvents generally diffuse faster than weakly swelling solvents and that pigmentation does not significantly influence solvent diffusion. These results contribute to a better understanding of transport phenomena in paintings and support the development of improved paint restoration strategies.

Time-Dependent ATR-FTIR Spectroscopic Studies on Fatty Acid Diffusion and the Formation of Metal Soaps in Oil Paint Model Systems

The formation of metal soaps (metal complexes of saturated fatty acids) is a serious problem affecting the appearance and structural integrity of many oil paintings. Tailored model systems for aged oil paint and time-dependent attenuated total reflection Fourier transform infrared (ATR-FTIR) spectroscopy were used to study the diffusion of palmitic acid and subsequent metal soap crystallization. The simultaneous presence of free saturated fatty acids and polymer-bound metal carboxylates leads to rapid metal soap crystallization, following a complex mechanism that involves both acid and metal diffusion. Solvent flow, water, and pigments all enhance metal soap crystallization in the model systems. These results contribute to the development of paint cleaning strategies, a better understanding of oil paint degradation, and highlight the potential of time-dependent ATR-FTIR spectroscopy for studying dynamic processes in polymer films.