Interpretation of mid and near-infrared reflection properties of synthetic polymer paints for the non-invasive assessment of binding media in twentieth-century pictorial artworks

Analysis of brazilian paintings of the 20th century: Suspects and authentics through in situ and Non-Invasive techniques

This work studied suspicious and authentic artworks by Brazilian painters Ivan Serpa, Ismael Nery, and Iberê Camargo by XRF, FTIR, OM, and MA-XRF techniques. The studies made it possible to verify that all suspicious artworks are counterfeit artifacts. The analyses were conducted in situ, and different approaches were applied for data treatment. For example, principal component analysis and spectral deconvolution were performed on the XRF data. From these methods, it was possible to verify that the suspect artworks by Ivan Serpa and Iberê Camargo have different materiality than the authentic paintings. Additionally, MA-XRF images did not reveal the presence of a polychrome preparation layer in the suspicious paintings by Ivan Serpa. The suspect artworks from Ismael Nery exhibited a Ca-K/Ti-K ratio that indicates they were created on a low-quality paper support, which is not suitable for paintings. The differences in materials used in the suspicious and authentic artworks are further supported by the FTIR and OM results. In addition to the physicochemical analysis, the paintings were studies graphotechnical examinations, financial evaluations, and artistic analyses that demonstrated they were counterfeit artifacts. The results of the analysis demonstrate how physicochemical techniques can contribute to the forensic investigation of paintings. However, this work highlights the importance of applying distinct treatments to the XRF data in order to accentuate the differences between the suspect and authentic artworks.

Evaluation of near-infrared spectroscopy as a contactless method for health monitoring of resin-based coating materials applied to concrete surfaces

The surfaces of concrete structures are often coated with protective materials to minimize corrosion and weathering-based deterioration. Therefore, it is important to monitor the aging of the coating materials and their overall condition to extend the service lifetime of the structure effectively. Near-infrared spectroscopy (NIRS) is a contactless, nondestructive, rapid, and convenient method for material characterization; therefore, it is useful for onsite inspection of coating materials. Hence, in this study, we attempt to determine whether NIRS can be used for simple inspection for health monitoring of organic resin-based coating materials. In addition to identifying different severities of peeling damage, we characterize the ultraviolet-induced deterioration of coating materials with different thicknesses using diffuse reflection spectra acquired in the near-infrared wavelength region. For independent comparison with the NIR spectra, the state of the coating materials on the mortar specimens was analyzed using a combination of Fourier-transform infrared spectroscopy and scanning electron microscopy, while the state of the underlying mortar specimens was analyzed using permeability and salt-water immersion tests. The results confirm that the NIRS could detect the degradation of coating materials at early stages of deterioration before their permeability had been affected. NIRS offers the possibility of intermittent monitoring of coating deterioration. In addition, because the NIR spectrometer is portable, it can help in inspecting high-rise areas and areas that are difficult to reach. Therefore, we believe that NIRS is a simple, safe, and inexpensive method for inspection of surface coating materials.

FTIR conformity analysis and performance testings of fresh, aged and expired polymeric paints under different storage conditions

This study aims to correlate the molecular structure consistency of unmixed paints and the performance of 2-pack three-layer protective dried coatings (mixed and cured paints) in various aging conditions (fresh, aged and expired paints) stored under different conditions. All the physical tests (density, solid content, viscosity and sag resistance) of paints fulfil the required specifications. However, these tests cannot tell if the chemical formulation of retained paints (aged and expired) has undergone changes due to storage. The conformity analysis by Fourier-transform infrared (FTIR) spectroscopy coupled with squared derivative algorithm was employed for molecular structure analysis comparison of the fresh and retained paints. FTIR results show high degree of similarity (r), with r ≥ 0.900 for the properly stored retained paints when compared against its fresh paints using high sensitivity compare algorithm. This finding is validated with a paired Student’s t-test and it turns out that the r values of properly stored paints are not statistically different from the fresh paints. Moreover, the performance test (pull off adhesion and salt-spray) of dried coatings indicates good durability when the properly stored retained paints with high degree of structural similarity are applied on the substrate according to end user specifications. This approach offers a practical solution for the paint manufacturer and user to employ a rapid and non-destructive FTIR structural analysis for the confirmation of structural consistency of retained paints before application instead of disposing the polymeric paint without verification.

A Silver Monochrome “Concetto spaziale” by Lucio Fontana: A Spectroscopic Non- and Micro-Invasive Investigation of Materials

In several of his artworks, for instance the Venezie cycle, Fontana employed metallic paints; previous investigations on such materials highlighted the use of different synthetic binders and of thick paint layers below the metal one, having different colours to change the visual perception of the metallic surface. In the present work, a monochrome silver “Concetto spaziale” by the Italo–Argentine artist belonging to a private collection recently gifted to the museum of the Church of San Fedele in Milano, Italy, was investigated to deepen the knowledge of this particular group of Fontana’s paintings. The artwork was initially visually inspected in visible and ultraviolet (UV) light. Subsequently, a non-invasive spectroscopic investigation was performed by X-ray fluorescence (XRF), reflection Fourier-transform infrared (FTIR) and Raman spectroscopy. A minute fragment of silver-coloured paint was taken from the reverse of the painting, near the cut edge, and examined by scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM-EDX) and micro-Fourier-transform Raman (FT-Raman) spectroscopy. The analytical data made it possible to identify the composition of the metallic paint layer and of the underlying dark one, both from the point of view of the pigments and of the binders used, also highlighting the potential of the non-invasive and micro-invasive methods adopted in the investigation.

PLS-DA and data fusion of visible Reflectance, XRF and FTIR spectroscopy in the classification of mixed historical pigments

In this work samples of historical pigments of green hue were brushed on a canvas and studied by Visible Reflectance, X-Ray Fluorescence and Fourier Transform Infrared Spectroscopy. One hundred samples were investigated, all with green hue, these prepared from pigments themselves green, such as chromium oxide (Cr₂O₃) or from a mixture of pigments that result in green, for example, chrome yellow (PbCrO₄) and Prussian blue (Fe₄[Fe(CN)₆]₃). Because every sample investigated through the spectroscopic techniques were of green hue, the characterization of the pigments present in the mixtures through the visual inspection of spectra has become a complex task in some cases, also, due the large number of recorded spectra. In this work, classification models were developed using the multivariate statistical method Partial Least Squares Discriminant Analysis (PLS-DA) to automate the characterization of the pigments present in the mixtures. The models were developed to classify chromium oxide (Cr₂O₃), chrome yellow (PbCrO₄), cerulean blue (CoO.nSnO₂) and yellow ochre (Fe₂O₃·H₂O + clay + silica). The models were developed from the fusion of data from the three spectroscopic techniques. However, before data fusion, pre-treatments of the spectral data were tested for their influence on the PLS-DA models. The models developed with data from the three techniques made it possible to classify the pigments of interest in the samples with up to 100% effectiveness. The results also indicate that fusion of the data from the three techniques allows to obtain fingerprints of the pigments of interest, which is not always possible using data from only one or two of the techniques applied in this work.

Archaeometric study of execution techniques of white Attic vases: the case of the Perseus crater in Agrigento

The white ground crater by the Phiale Painter (450–440 BC) exhibited in the “Pietro Griffo” Archaeological Museum in Agrigento (Italy) depicts two scenes from Perseus myth. The vase is of utmost importance to archaeologists because the figures are drawn on a white background with remarkable daintiness and attention to detail. Notwithstanding the white ground ceramics being well documented from an archaeological and historical point of view, doubts concerning the compositions of pigments and binders and the production technique are still unsolved. This kind of vase is a valuable rarity, the use of which is documented in elitist funeral rituals. The study aims to investigate the constituent materials and the execution technique of this magnificent crater. The investigation was carried out using non-destructive and non-invasive techniques in situ. Portable X-ray fluorescence and Fourier-transform total reflection infrared spectroscopy complemented the use of visible and ultraviolet light photography to get an overview and specific information on the vase. The XRF data were used to produce false colour maps showing the location of the various elements detected, using the program SmART_scan. The use of gypsum as the material for the white ground is an important result that deserves to be further investigated in similar vases.

Imaging and portable XRF and FTIR on Perseus crater evidenced the use of gypsum as white slip after vase's firing.

The Art of Everyday Objects: A Non-Invasive In Situ Investigation of Materials and Techniques of Italian Pop Art Paintings on Aluminium

Two paintings, made on aluminium support by Silvio Pasotti (among the major exponents of 1960s Italian pop art) were investigated in a totally non-invasive manner to identify the materials used by the artist. Raman spectroscopy, Fourier-transform infrared spectroscopy (FTIR), visible reflectance spectroscopy, and spectrofluorimetry with visible excitation were exploited as molecular analysis techniques, which are particularly suitable to recognise also synthetic organic materials, such as pigments and binders. The effectiveness of this multi-analytical approach was demonstrated, leading to the identification of several synthetic organic pigments, both conventional and “special effect” ones, introduced during the first half of the 20th century, as well as some well-established inorganic ones. Combining FTIR results both in the medium and near IR ranges, considerations regarding the binders employed by the artist could also be made, suggesting the use of both nitrocellulose and acrylic paints. Imaging techniques, such as IR reflectography, false colour IR, UV induced fluorescence, and portable microscopy, were also used to achieve a better knowledge of the painting practice.

A Comprehensive and Systematic Diagnostic Campaign for a New Acquisition of Contemporary Art—The Case of Natura Morta by Andreina Rosa (1924–2019) at the International Gallery of Modern Art Ca’ Pesaro, Venice

A multi-analytical approach has been employed to investigate the painting Natura Morta (1954–1955) by Andreina Rosa (1924–2019) to assess the state of conservation and to understand more about the painting materials and techniques of this artwork, which was recently donated by the painter’s heirs to the International Gallery of Modern Art Ca’ Pesaro (Venice-Italy). A comprehensive and systematic diagnostic campaign was carried out, mainly adopting non-invasive imaging and spectroscopic methods, such as technical photography, optical microscopy, Hyperspectral Imaging Spectroscopy (HIS), fiber optics reflectance spectroscopy (FORS), External Reflectance Fourier Transform Infrared (ER-FTIR), and Raman spectroscopies. Microsamples, collected from the edges of the canvas in areas partially detached, were studied by Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy and Gas Chromatography-Mass Spectrometry (GC-MS). By crossing the information gained, it was possible to make inferences about the composition of the groundings and the painted layers, the state of conservation of the artwork, and the presence of degradation phenomena. Hence, the present study may be of interest for conservation purposes as well as for enhancing the artistic activity of Andreina Rosa. The final aim was to provide useful information for the Gallery which recently included this painting in its permanent collection.

Diagnostics and Monitoring to Preserve a Hypogeum Site: The Case of the Mithraeum of Marino Laziale (Rome)

Conservation of hypogea and their accessibility by the visitors is a hard question, due to the interaction of different factors such as the intrinsic characteristics of the hypogeal environments and the presence of public. A particular case is represented by the Mithraeum of Marino Laziale, located a few kilometers away from Rome and accidentally discovered in the 1960s. The uniqueness of the discovery was the presence of a well-preserved painting of the Mithraic scene (II century A.D.) probably due to the oblivion of the place of worship over the centuries as well as the isolation from the outdoor environment. Unfortunately, despite a recent complete restoration and recovery of the archaeological area, which ended in 2015, the area was never open to the visitors and only two years after completing the works it was no longer safe to use. Hence, the need for a new planning of interventions starting from the deep knowledge of this cultural heritage and from the analysis of past incorrect actions to arrive at the opening—without any risk for the archaeological findings and visitors—and management of this site, never exposed to the public. Therefore, since 2018 a diagnostic campaign and microclimate monitoring have been started. The data collected during the two years of investigations have been fundamental to assess the conservation state of the hypogeal environment and the potential risks for the preservation of the three paintings (the Mithraic scene and two dadophores). Long-term monitoring of indoor environmental conditions assumes the role of an essential tool for the planning of preventive conservation strategies but also for the control of the site after its opening to the visitors. Furthermore, the characterization of the microclimate is non-invasive, sufficiently economical and accurate. In this paper, the characterization of surfaces in the Mithraic gallery through optical microscopy, UV fluorescence/imaging techniques, FT-IR spectroscopy, XRD and the microclimatic parameters variation in the presence or absence of visitors are used to define the strategies for the opening and fruition of the Mithraeum. The strategies for the sustainable fruition of this unique archaeological site have been defined through a conservation protocol approved by the Italian Ministry of Cultural Heritage and necessary for the site managers and curators of the Municipality of Marino Laziale to finally support its opening.

Unveiling the composition of historical plastics through non-invasive reflection FT-IR spectroscopy in the extended near- and mid-Infrared spectral range

The present research exploits the strengths of external reflection FT-IR spectroscopy to non-invasively study heritage plastic objects through inspection, for the first time, of the wide spectral range including the near- and mid-IR (12500-350 cm^-1). Unlike most of previous works on historical plastic objects, reflection-mode spectra were not corrected for the unfamiliar surface reflection profiles to the more recognizable absorption-like band shapes. This avoided data misinterpretation due to ill-suited Kramers Krönig correction when volume reflection is also present or when highly absorbing IR compounds generate Reststrahlen bands. The inspection of the enlarged spectral range allowed the detection of fundamental, combination and overtone bands which provided reliable identification and semi-quantitative characterization of different polystyrene-based co-polymers. Furthermore the variation of the plastic optical properties across the explored spectral range allowed us to sample the plastic materials to different depths in the mid- and near-IR regions, so as to probe the chemistry at the surface and in the plastic bulk, respectively, in a non-invasive manner. This proved particularly useful to observe spectral markers of surface degradation occurring in historical ABS-based polymers.

A Preliminary Study on the Differentiation of Linseed and Poppy Oil Using Principal Component Analysis Methods Applied to Fiber Optics Reflectance Spectroscopy and Diffuse Reflectance Imaging Spectroscopy

This paper presents results from the examination of a set of experimental samples using fibre optic reflectance spectroscopy (FORS) and diffuse reflectance imaging spectroscopy in the short-wave infrared (SWIR) range, combined with statistical analysis of the data for the discrimination and mapping of poppy and linseed oil. The aim was to evaluate the efficacy of this non-invasive approach for the study of paint samples with a view to the application of the method for characterisation of the two drying oils in painted art. The approach allowed discrimination between the two drying oils based on FORS spectra and the hyperspectral cube, indicating the influence of the spectral region around 1700 nm on the statistical discrimination based on the anti-symmetric and symmetric first overtone stretching of methylenic CH₂ groups. This method is being studied as a potential non-invasive method of organic analysis of oil types that have formerly been studied using gas chromatography-mass spectrometry (GC-MS), which requires micro-samples.

Discovering Giuseppe Capogrossi: Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome)

We present the results of a diagnostic campaign on three of Giuseppe Capogrossi’s abstract paintings from the 1950s and 1960s, conserved at the National Gallery of Modern and Contemporary Art in Rome. Non-invasive investigations by reflection FT-IR spectroscopy were carried out, followed by micro-destructive laboratory analyses using Py-GC-MS, and HPLC-ESI-Q-ToF. The investigations focused on identifying the binders used for both the preparation and the pictorial layers. In two of the paintings investigated, an industrial preparation was identified based on egg yolk, mixed with other organic materials (acryl resin, oil, animal glue). The paint media include the use of both oil and alkyd paint. In one of the three paintings, the presence of a styrene-acryl resin was observed. The results show the simultaneous use of traditional and innovative materials, confirming the complexity of the period in which the artist was active, characterized by the technical experimentation of both the artists and manufacturers. The research also contributes to a better understanding of Giuseppe Capogrossi’s artistic profile, from the point of view of executive techniques.

The Tomb of the Diver and the frescoed tombs in Paestum (southern Italy): New insights from a comparative archaeometric study

The Tomb of the Diver has been subject for many decades of fierce debate among archaeologists and classicists. Since its discovery in 1968, some scholars have considered it a unique example of the lost tradition of Greek painting, others have emphasized Etruscan or Italic parallels. More recently, a possible local production has been suggested. With the aim of trying to solve the archaeological question, an archaeometric comparison among this well-known artwork and several frescoed tombs coming from Hellenistic and Lucan necropolis was carried out. The multi-analytical study was focused on the identification of peculiar features of executive techniques and raw materials since the first period of the archaeological site. The analytical investigation has been preliminary based on a non-destructive approach, performed in-situ by portable equipment including imaging diagnostics and compositional spectroscopic techniques for identifying pigments and the conservation state of original painted surface; subsequently, a further deepening by using destructive techniques was performed in-lab for the mortar-based supports characterization. Archaeometric study suggested that technological choices slightly changed in a time span of about two centuries, highlighting important markers that allow clustering the contemporary artistic productions. Moreover, a comparison with mortars from temples decorations was provided to better understand the whole artistic context. The archaeometric data showed that the Tomb of the Diver could be traced back to a local artisanal tradition and therefore is neither Etruscan nor Greek, but the first and foremost an expression of the local elite culture of Paestum.

Plastics in Heritage Science: Analytical Pyrolysis Techniques Applied to Objects of Design

The first synthetic polymers were introduced as constituents of everyday life, design objects, and artworks at the end of the 19th century. Since then, the history of design has been strictly connected with the 20th century evolution of plastic materials. Objects of design from the 20th century are today a precious part of the cultural heritage. They raise specific conservation issues due to the degradation processes affecting synthetic polymer-based plastics. Museums and collections dealing with the conservation of design objects and modern materials need to base their conservation strategies on compositional data that reveal the formulations of historical plastics and their decay processes. Specific and specifically optimized analytical tools are thus needed. We employed flash analytical pyrolysis coupled with gas chromatography and mass spectrometry (Py-GC/MS) and evolved gas analysis coupled with mass spectrometry (EGA-MS) to characterize “historic polymeric materials” (HIPOMS) and heritage plastics at the molecular level with high chemical detail. This approach complements non-invasive spectroscopic diagnosis whenever it fails to obtain significant or complete information on the nature and the state of preservation of the materials under study. We determined the composition of several 20th century design objects (1954–1994) from the Triennale Design Museum of Milan (Triennale Milano - Museo del Design Italiano), which for different morphological, chemical, or physical reasons were unsuitable for characterization by non-invasive spectroscopy. EGA-MS proved capable for the study of the different fractions constituting heterogeneous micro-samples and for gaining an insight into their degradation processes from the contextual interpretation of thermal and mass-spectrometric data.

Single-sided NMR: a non-invasive diagnostic tool for monitoring swelling effects in paint films subjected to solvent cleaning

During solvent cleaning of a painted surface, the control of solvent diffusion into the painting matrix is a primary concern for conservators. In this work, a comparative systematic study of solvent ingress and of the ensuing swelling phenomenon in paint films due to cleaning treatments was tackled using single-sided NMR. Specifically, the effects of a TAC aqueous solution (triammonium citrate in deionized water) applied in both free and gelled forms (by Klucel^® G) on acrylic emulsion and vinyl-based model paints were evaluated. Notably, the NMR measurements (proton spin density depth profiles and transverse relaxation decays) collected before, during, and after these wet-cleaning tests proved that the use of the aqueous gel did not significantly minimize the penetration and the swelling action of water compared with the free solution. Furthermore, swelling effects associated with the use of an organic solvent (ligroin) were evaluated by NMR profilometry on varnished oil and egg-tempera paints. In this case, by comparing the depth profiles collected before and after the solvent treatments, a moderate paint swelling was observed followed by a width reduction of the paint films ascribable to the removed varnish layer.Overall, the reported NMR results reveal the analytical potentialities of the technique for a non-invasive assessment of the swelling effect of paint films subjected to cleaning (by water or an organic solvent), thereby providing an analytical method in support to the conservators' practice.

Recent trends in the application of Fourier Transform Infrared (FT-IR) spectroscopy in Heritage Science: from micro- to non-invasive FT-IR

The relevance of FT-IR spectroscopy in heritage science has experienced a constant grow in the last two decades owing to analytical peculiarities that make it an extremely useful tool to answer the questions posed by the study and conservation of art-historical and archaeological materials. High versatility, sensitivity and molecular specificity are, in fact, all requirements that FT-IR spectroscopy fulfils allowing for the investigation of the chemical properties of heritage materials spanning from the micro- to the macro-scale and offering a variety of approaches to minimize sample manipulation and maximize extracted information. Molecular identification and localisation at high lateral resolution of organic and inorganic components in micro-samples was, over recently, the mostly exploited use of FT-IR in heritage science; however, benefiting from technological progress and advances in optical materials and components achieved in the last decade, it now stands out also for non-invasive surface analysis of artworks by fully portable instrumentation.

Near-UV to mid-IR reflectance imaging spectroscopy of paintings on the macroscale

Broad spectral range reflectance imaging spectroscopy (BR-RIS) from the near UV through the mid-infrared (IR) (350 to 25,000 nm or 28,571 to 400 cm^-1) was investigated as an imaging modality to provide maps of organic and inorganic artists' materials in paintings. While visible-to-near-IR (NIR) reflectance and elemental x-ray fluorescence (XRF) imaging spectroscopies have been used for in situ mapping, each method alone is insufficient for robust identification. Combining the two improves results but requires complex data processing. To test BR-RIS, image cubes from early Italian Renaissance illuminated manuscripts were acquired using two spectrometers. Maps of pigments, including trace minerals associated with mined azurite, and their associated binding media were made. BR-RIS has a more straightforward analysis approach as implemented here than visible-to-NIR, mid-IR, or XRF imaging spectroscopy alone and offers the largest amount of macroscale information for mapping artists' materials by comparison.

Mid and Near-Infrared Reflection Spectral Database of Natural Organic Materials in the Cultural Heritage Field

This study presents mid and near-infrared (7500-375 cm⁻¹) total reflection mode spectra of several natural organic materials used in artworks as binding media, consolidants, adhesives, or protective coatings. A novel approach to describe and interpret reflectance bands as well as calculated absorbance after Kramers-Kronig transformation (KKT) is proposed. Transflection mode spectra have represented a valuable support both to study the distorted reflectance bands and to validate the applicability and usefulness of the KK correction. The aim of this paper is to make available to scientists and conservators a comprehensive infrared reflection spectral database, together with its detailed interpretation, as a tool for the noninvasive identification of proteins, lipids, polysaccharides, and resins by means of portable noncontact FTIR spectrometers.

Characterization of outdoor bronze monument patinas: the potentialities of near-infrared spectroscopic analysis

The corrosion products usually found on outdoor bronzes are generated by the interaction between the metal alloy and the atmospheric pollutants. To protect the external surface of bronzes, different organic materials (natural or synthetic) can be applied, creating over time a patina consisting of a complex mixture of inorganic and organic degraded components. The correct chemical characterization of patina constituents is fundamental to define the state of conservation of a metal artwork and address proper restoration actions. In this paper, we evaluated the potentialities of near-infrared (NIR) reflectance microscopy (4000-7500 cm^-1) as complementary method to mid-infrared (MIR) analyses for the characterization of bronze patinas. Although NIR spectroscopy has been already used in the field of heritage science, its application for the characterization of bronze patinas is almost unexplored. In this paper, several corrosion products usually found on the surface of outdoor bronze sculptures were synthesized, characterized, and submitted to the NIR-MIR total reflection analysis to build up a reference spectral database. We devoted particular attention to the NIR features of copper hydroxychlorides, such as atacamite and paratacamite, which have not been studied in detail up to now. A selection of organic-based formulations, commonly used by restorers to protect the bronze surface against the outdoor aggressive environment, were also considered as references. Successively, NIR-MIR reflectance microscopy was successfully employed for the analysis of patina micro-samples collected from the bronze statues of the Neptune Fountain (sixteenth century) located in Bologna. The obtained results demonstrate the ability of NIR spectroscopy to identify organic and inorganic patina constituents, even in mixtures. In addition, the study can be considered as a proof of concept for the possible future application of the technique for in situ diagnostic campaigns on bronze sculptures.

Capabilities and limitations of handheld Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for the analysis of colourants and binders in 20th-century reverse paintings on glass

A non-invasive method has been carried out to show the capabilities and limitations of Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for identifying of colourants and binders in modern reverse glass paintings. For this purpose, the reverse glass paintings "Zwei Frauen am Tisch" (1920-22), "Bäume" (1946) (both by Heinrich Campendonk), "Lofoten" (1933) (Edith Campendonk-van Leckwyck) and "Ohne Titel" (1954) (Marianne Uhlenhuth), were measured. In contrast to other techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession. In multi-layered paint systems, the front paint layer may no longer be accessible. The work points out the different spectral appearance of a given substance (gypsum, basic lead white) in reverse glass paintings. However, inverted bands, band overlapping and derivative-shaped spectral features can be interpreted by comparing the spectra from the paintings with spectra from pure powders and pigment/linseed oil mock-ups. Moreover, the work focuses on this method's capabilities in identifying synthetic organic pigments (SOP). Reference spectra of three common SOP (PG7, PY1, PR83) were obtained from powders and historical colour charts. We identified PR83 and PY1 in two reverse glass paintings, using the measured reference spectra. The recorded DRIFTS spectra of pure linseed oil, gum Arabic, mastic, polyvinyl acetate resin and bees wax can be used to classify the binding media of the measured paintings.

Non-invasive techniques for revealing the palette of the Romantic painter Francesco Hayez

This paper describes the first systematic analysis of the palette of Francesco Hayez, one of the most outstanding artists of European Romanticism, whose painting technique has never been extensively investigated despite the plethora of artistic studies. He lived in a particular moment in the history of painting, as in the first half of the 19th century many synthetic pigments were available, also in tin tubes, but traditional materials were still used. Sixteen paintings on canvas and on panels, created between 1823 and 1868, were analyzed in situ through non-invasive techniques (infrared reflectography and infrared reflection spectroscopy). Imaging investigation provided clues on painting technique, revealing some cases of pentimenti and underdrawings. A preliminary survey was carried out on a hundred pure pigments used up to the 19th century and on new synthetic colours, in order to attain reference spectra for the interpretation of painting spectra. The portable infrared instrument provided insight into Hayez's painting materials, identifying barite, ivory black, lead-tin yellow, Naples yellow, ochres, Prussian blue, and white lead. The pigments were often blended, to obtain a unique fabric appearance or to attain cold shades. The results pointed to a siccative oil as a binder, mixed with white lead so that it could act as a catalyzer in polymerization reactions, and in some cases with a proteinaceous binder and resins. The preparation was made with gypsum and white lead mixed with a siccative oil. The results showed that the artist used a typical traditional palette, throughout his career, in order to lead to brilliant colours and with long-term stability. Anyway, the possible presence of cobalt blue in a few paintings suggests that Hayez had probably started testing the new colours, since the second decade of 19th century.

Handheld new technology Raman and portable FT-IR spectrometers as complementary tools for the in situ identification of organic materials in modern art

A non-invasive approach has been carried out to characterize painting materials used in modern artworks conserved in the art collection of Carandente's museum at Palazzo Collicola in Spoleto (Italy). This work is focused on the cross-validation of the handheld BRAVO Raman spectrometer, that uses a sequentially Shifted Excitation (SSE) to mitigate fluorescence, for the characterization specifically of organic materials. The analytical procedure, combining XRF, Raman and reflection infrared spectroscopy, allowed a complete characterization of the artists' palettes; particularly eight different synthetic dyes belonging to the class of pigment red (PR) and pigment yellow (PY.), synthetic and traditional binders, such as alkyd resin and lipids have been easily identified.