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

Identification, transformations and mobility of hazardous arsenic-based pigments on 19th century bookbindings in accessible library collections

This study focused on the non-destructive characterization of potentially hazardous Victorian-era books found in the Northwestern University Libraries. XRF, Raman and FTIR were used to identify and isolate hazardous books containing As-based pigments. These techniques also permitted, on selected books, to characterize the pigment as being Emerald green. However, none allowed for the identification of equally hazardous degradation products or potential transfer to adjacent books. These analytical gaps create limits in thoroughly identifying the level of risks associated with these books for library users and hampered the application of effective risk mitigation measures. Such limitations were overcome with synchrotron radiation (SR) techniques. Through SR-XRF, Cu/As distributions were mapped across covers and spines of green and neighboring books, whereas SR-X-ray absorption near edge structure (SR-XANES) was used to characterize the As oxidation state, leading to the identification of arsenates as degradation products. Besides successfully identifying hazardous books, this study demonstrated that hazards extend beyond As-containing green books to innocuous, long-standing neighboring books and non-colored pages due to migration and transfer of pigment and degradation products. Aside from helping to implement workplace health and safety measures, this study also informs how other libraries can identify and characterize potentially hazardous items in their collections.

A versatile method to fingerprint and compare the oxidative behaviour of lipids beyond their oxidative stability

In this work we propose the use of isothermal thermogravimetry to evaluate the oxidative stability of a lipid and to evaluate how the glyceride composition affects the entire oxidative process, to quantify the oxidation undertaken by the lipid, and numerically compare the oxidative behaviour of different lipids. The innovative aspect of the present method lies in the acquisition of a prolonged "oxygen uptake" curve (4000-10,000 min) of a lipid under oxygen and in the development of a semi-empirical fitting equation for the experimental data. This provides the induction period (oxidative stability), and allows to evaluate the rate of oxidation, the rate and the magnitude of oxidative degradation, the overall mass loss and the mass of oxygen taken by the lipid upon time. The proposed approach is used to characterize the oxidation of different edible oils with different degrees of unsaturation (linseed oil, sunflower oil, and olive oil) as well as chemically simpler compounds used in the literature to model the autoxidation of vegetable oils and lipids in general: triglycerides (glyceryl trilinolenate, glyceryl trilinoleate and glyceryl trioleate) and methyl esters (methyl linoleate and methyl linolenate). The approach proves very robust and very sensitive to changes in the sample composition.

A holistic view on the role of egg yolk in Old Masters' oil paints

Old Masters like Botticelli used paints containing mixtures of oils and proteins, but "how" and "why" this was done is still not understood. Here, egg yolk is used in combination with two pigments to evaluate how different repartition of proteinaceous binder can be used to control the flow behavior as well as drying kinetics and chemistry of oil paints. Stiff paints enabling pronounced impasto can be achieved, but paint stiffening due to undesired uptake of humidity from the environment can also be suppressed, depending on proteinaceous binder distribution and colloidal paint microstructure. Brushability at high pigment loading is improved via reduction of high shear viscosity and wrinkling can be suppressed adjusting a high yield stress. Egg acts as antioxidant, slowing down the onset of curing, and promoting the formation of cross-linked networks less prone to oxidative degradation compared to oil alone, which might improve the preservation of invaluable artworks.

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.

Photoactive Fe Catalyst for Light-Triggered Alkyd Paint Curing

Herein, we show that the photoactive complexes [(Cp)Fe(arene)]⁺ (Cp = cyclopentadienyl; arene = C₆H₆, C₆H₅Me) act as latent catalysts that allow for photochemical control over the onset of alkyd paint curing, without the need for antiskinning agents such as the volatile 2-butanone oxime normally used to prevent curing during paint storage. The highly soluble neutral complexes [(Cp)Fe(Ch)] and [(Cp)Fe(Ch')] (Ch = cyclohexadienyl, Ch' = methylcyclohexadienyl) readily convert to the photoactive complexes [(Cp)Fe(arene)]⁺ upon oxidation in alkyd, allowing the latter to be dosed in a wide range of concentrations. Infrared and Raman studies show similar spectral changes of the alkyd paint matrix as have been observed in alkyd curing mediated by well-known, industrially applied cobalt- and manganese-based catalyst Co(neodecanoate)₂ and [(Me₃TACN)₂Mn₂(μ-OOCR)₃](OOCR). The [(Cp)Fe(Ch)]/[(Cp)Fe(arene)]⁺ system performs equally well as these cobalt- and manganese-based catalysts in terms of drying time and outperform the manganese catalyst by showing a hardness development (increase) similar to that of the cobalt-based catalyst. Based on electron paramagnetic resonance and light-activity studies, we propose that photolysis of [(Cp)Fe(arene)]⁺ generates short-lived active Fe^II species, explaining the desired latency. The [(Cp)Fe(Ch)]/[(Cp)Fe(arene)]⁺ alkyd curing systems presented herein are unique examples of intrinsically latent paint curing catalysts that (1) are based on an abundant and harmless transition metal (Fe), (2) do not require any antiskinning agents, and (3) show favorable performance in terms of drying times and hardness development.

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.

Surface Acoustic Wave Nebulization-Mass Spectrometry as a New Tool to Investigate the Water Sensitivity Behavior of 20th Century Oil Paints

The sensitive surfaces of many unvarnished 20th century oil paintings are of great concern for conservators and collection keepers. They may show degradation problems such as paint delamination, dripping, and soft and sticky paint and pose challenges for cleaning due to solvent sensitivity. We report for the first time the use of an innovative ambient ionization technique, surface acoustic wave nebulization-mass spectrometry (SAWN-MS), for the identification and characterization of fatty acids, dicarboxylic species and glycerides in water-sensitive modern oil paints. The composition of 10 relevant Winsor and Newton 1964-1965 paint swatches that present different degrees of water sensitivity and two paint samples from a painting by the British artist Francis Bacon were studied. Principal component analysis was used for SAWN-MS data classification. Electrospray ionization (ESI)-MS was used as control method, specifically to compare the obtained ratios of markers of interest by the two ionization techniques. The results obtained by both ESI-MS and SAWN-MS are correlated and discussed in a broader context including the information on the oil media obtained by gas chromatography (GC-MS) and also on the inorganic materials and salts characterized using a combination of methods in previous reports on samples from the same manufacturer. SAWN-MS was found to be a suitable tool for the determination of soluble organic constituents present in the paints. The method provides an indication of the level of oxidation and hydrolysis of the paint film by monitoring specific markers such as free palmitic and stearic acids, azelaic acid, monoacylglycerols, and diacylglycerols. The data showed that a higher level of water sensitivity coupled with a high level of oxidation and hydrolysis is linked to higher dicarboxylic acid, diacyl- and triacylglyceride content and lower levels of short chain fatty acids. The data obtained by SAWN-MS provided a good correlation between the monitored species and the degree of water sensitivity.

An In Vitro Evaluation of the Biocidal Effect of Oregano and Cloves’ Volatile Compounds against Microorganisms Colonizing an Oil Painting—A Pioneer Study

In this study, the biocidal activity of two plant derivatives (oregano and cloves’ essential oils—EOs) was evaluated, as a potential innovative and eco-friendly cleaning method for canvas paintings. The object of the study was the oil painting on canvas entitled “Studio di nudo” (Giovanni Maria Mossa, 1921), showing stains caused by microorganisms. The research focused on: (1) isolation and identification of microorganisms associated with discolorations on the obverse and reverse sides of the canvas; (2) evaluation of biocidal activity of selected EOs against fungal and bacterial collections. The phylogenetic identification was conducted with both cultivation and molecular methods. The canvas was mainly colonized by Penicillium, Aspergillus, and Cephaloteca fungal genera and by bacteria of the Bacillus genus. To evaluate the biocidal effect of the EOs’ volatile components only, an antibiogram assay (agar disc diffusion method) and a customized assay (named the contactless test) were conducted. Tested EOs showed antimicrobial activity on fungi and bacteria. However, compared to cloves, oregano EO exhibited a better inhibition activity both in contact and contactless tests. The work is pioneering for the use of EOs’ volatile compounds against oil painting biodeteriogens, and gives insights into possible extended, innovative and eco-friendly cleaning methods for painting control procedures.