Recent Advances on the Analysis of Polychrome Works of Art: SERS of Synthetic Colorants and Their Mixtures With Natural Dyes

The development and application of proper sample pretreatments is often a key step toward the successful analysis of dyes used as artists' materials by surface-enhanced Raman spectroscopy (SERS). Complexation of the organic colorants with metal ions to dye fabrics and produce lake pigments, as well as undesired interactions with other matrix components such as substrate, binding media, fillers, and extenders, are just some of the issues that typically complicate dye identification in minute samples from invaluable artworks and museum objects. These concerns may be addressed by using, prior to SERS analysis, ad-hoc sample pretreatments that, in addition to increasing the technique's sensitivity, favorably affect its selectivity toward certain molecules or molecular classes. The present work describes a newly developed sample pretreatment based on the use of nitric acid that has proven crucial for the successful detection of aniline and xanthene dyes–the first synthetic organic colorants to be used in printing and painting, among other art forms–in microscopic samples from works of art such as a 19th-century silk fabric, paper cut-outs by Henri Matisse, Vincent Van Gogh's Irises, and Japanese woodblock prints. This treatment promotes the hydrolysis of the dye-metal bond in mordant dyes or lake pigments, resulting in a more efficient adsorption of the dye molecules on the SERS-active substrate and, hence, enabling the acquisition of high-quality spectra. In the case of synthetic colorants, this method shows advantages over hydrolysis with hydrofluoric acid–a procedure previously established for the analysis of red lakes prepared from natural dyes. The nitric acid treatment presented here may be integrated into a multi-step methodology that, by exploiting differences in solubility of various dyes and lake pigments, has enabled for the first time to successfully characterize intentional mixtures of natural and synthetic colorants of the xanthene and anthraquinone molecular classes, i.e., eosin Y and carmine, in a selection of Japanese prints of the Meiji era. The present study paves the way for the systematic identification of synthetic dyes in objects of artistic and archeological interest, even when they are present in mixtures with natural organic colorants.

A novel classification method for multispectral imaging combined with portable Raman spectroscopy for the analysis of a painting by Vincent Van Gogh

In this work, a novel combination of portable micro-Raman spectroscopy and semi-automatic methods of data treatment are proposed for the classification and mapping of visible multispectral imaging data for the analysis of a painting on paper by Vincent Van Gogh. Analysis of multispectral imaging data with the sequential maximum-angle convex cone (SMACC) and spectral angle mapper (SAM) algorithms differentiated the surface into areas on the basis of the presence of pigment mixtures. Complementary analytical information was obtained through portable Raman spectroscopy was performed on a few selected points of the painting, allowing for the determination of Van Gogh's palette and the mapping of pigment mixtures on the painting's surface; the number of mixtures employed is varied and at least two different blues are present. The results obtained were integrated with the information from prior ultraviolet (UV)-induced luminescence analysis performed on the same painting to better understand the materials used by the artist. The mathematical treatment of multispectral data using the proposed methods could be extended to the analysis of other painted surfaces.