Modeling the Evolution of Crosslinked and Extractable Material in an Oil-Based Paint Model System

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.

How Science Can Contribute to the Remedial Conservation of Cultural Heritage

Colloid science is contributing solutions to counteract the degradation of artifacts, favoring their transfer to future generations. Advanced materials such as nanoparticles, coatings, gels and microemulsions have been assessed in conservation, spanning from archeological sites to modern and contemporary art. We give an overview of the fundamental milestones and latest innovations in conservation science, targeting solutions and tools for remedial conservation based on green nanomaterials and hybrid systems. Future perspectives and outstanding challenges in this exciting field are then outlined.

The stability of paintings and the molecular structure of the oil paint polymeric network

A molecular-level understanding of the structure of the polymeric network formed upon the curing of air-drying artists' oil paints still represents a challenge. In this study we used a set of analytical methodologies classically employed for the characterisation of a paint film-based on infrared spectroscopy and mass spectrometry-in combination with solid state NMR (SSNMR), to characterise model paint layers which present different behaviours towards surface cleaning with water, a commonly applied procedure in art conservation. The study demonstrates, with the fundamental contribution of SSNMR, a relationship between the painting stability and the chemical structure of the polymeric network. In particular, it is demonstrated for the first time that a low degree of cross-linking in combination with a high degree of oxidation of the polymeric network render the oil paint layer sensitive to water.

Generative Algorithm for Molecular Graphs Uncovers Products of Oil Oxidation

The autoxidation of triglyceride (or triacylglycerol, TAG) is a poorly understood complex system. It is known from mass spectrometry measurements that, although initiated by a single molecule, this system involves an abundance of intermediate species and a complex network of reactions. For this reason, the attribution of the mass peaks to exact molecular structures is difficult without additional information about the system. We provide such information using a graph theory-based algorithm. Our algorithm performs an automatic discovery of the chemical reaction network that is responsible for the complexity of the mass spectra in drying oils. This knowledge is then applied to match experimentally measured mass spectra with computationally predicted molecular graphs. We demonstrate this methodology on the autoxidation of triolein as measured by electrospray ionization-mass spectrometry (ESI-MS). Our protocol can be readily applied to investigate other oils and their mixtures.

Uncovering lead formate crystallization in oil-based paintings

Lead carboxylates are an extensive group of compounds studied for their promising industrial applications and for their risky behavior when they are formed in oil paintings as corrosion products of lead-based pigments, leading to serious deterioration of paintings. Although the processes leading to the formation of aggregates, protrusions or inclusions, affecting undesirably the appearance of paintings, are assumed to be long term, neo-formed lead carboxylates are detectable in the early stage of paint drying. To uncover the chemical changes in lead pigments during the drying of oil paint films, model systems consisting of minium (Pb3O4) and four common drying oils were studied by X-ray powder diffraction (XRPD), 13C and 207Pb solid state NMR (ssNMR) spectroscopy and Fourier-transformed infrared spectroscopy (FTIR). For the first time, a degradation mechanism of Pb3O4via the crystallization of lead formate (Pb(HCOO)2), at the end of oxidative polymerization of oil paint films, was uncovered. The formation of formic acid in oils was proved by gas chromatography-mass spectrometry (GC-MS). Vapor experiments evidenced the susceptibility of Pb3O4 to react with volatile formic acid released during the autoxidation of oils comparably to the direct pigment-binder interactions in paint films. The investigation of the local environment of lead atoms in the paint film by 207Pb WURST-CPMG NMR spectroscopy showed that Pb(ii) atoms reacted with linseed oil preferentially to form highly crystalline Pb(HCOO)2, while the local chemical environment of Pb(iv) atoms did not change. The results proved the co-existence of (i) highly crystalline Pb(HCOO)2, (ii) a highly mobile amorphous phase corresponding to free carboxylic acids or a nascent lead soap phase and (iii) the remaining Pb3O4 in the polymeric/ionomeric network. Pb(HCOO)2 is assumed to be an intermediate for the conversion of Pb3O4 to lead soaps and/or lead carbonates.

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.

Investigating homogeneous Co/Br−/H2O2 catalysed oxidation of lignin model compounds in acetic acid

The catalytic oxidation of lignin model compounds by Co/Br⁻/H₂O₂ is investigated; substituting Br⁻ for N-hydroxyphthalimide improved substrate conversion and product yield.