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Author |
Vermeulen, M.; Saverwyns, S.; Coudray, A.; Janssens, K.; Sanyova, J. |
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Title |
Identification by Raman spectroscopy of pararealgar as a starting material in the synthesis of amorphous arsenic sulfide pigments |
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A1 Journal article |
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Year  |
2018 |
Publication |
Dyes and pigments |
Abbreviated Journal |
Dyes Pigments |
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Volume |
149 |
Issue |
149 |
Pages |
290-297 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Abstract |
In this study, a combination of elemental analytical techniques (MA-XRF and SEM-EDX) were used to localize arsenic sulfide pigments within a 17th-century Dutch painting and in the stratigraphy of an 18th-century Flemish polychrome sculpture. Once located, Raman spectroscopy was used to obtain the vibrational signature of the arsenic sulfide pigments employed. By means of the latter analytical technique and due to the very distinctive Raman scattering signal of the various arsenic sulfide compounds, it was possible to identify the arsenic-based pigments as natural orpiment and amorphous arsenic sulfide. In the latter case, based on the minor bands observed and the good condition of the paint layers, it was possible to identify pararealgar, the orangey-yellow to yellow degradation product of realgar, as the initial arsenic sulfide material used for the synthesis of the amorphous pigment. To the best of our knowledge, this is the first time that combined pararealgar/amorphous arsenic sulfide Raman spectra are reported in historical samples. Therefore, this would be the first identification of pararealgar as the starting material to produce amorphous, arsenic sulfide pigments used in artworks. |
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Wos |
000423246900033 |
Publication Date |
2017-10-12 |
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ISSN |
0143-7208 |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
3.473 |
Times cited |
7 |
Open Access |
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Notes |
; This research is made possible with the support of the Belgian Science Policy Office (BELSPO, Brussels) through the research program Science for a Sustainable Development SDD: “Long-term role and fate of metal -sulfides in painted works of art S2ART” (SD/RI/04A). The authors would like to acknowledge the owner of the Abraham Mignon painting, Cecile Glaude for her help with SEM-EDX analyses as well as Livia Depuyt, Carlota Barbosa and Athanasia Fragkou for their assistance. The authors also acknowledge Dr. Karel Palka and Prof. Miroslav Week for their help with the synthesis of the amorphous arsenic sulfide references. ; |
Approved |
Most recent IF: 3.473 |
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Call Number |
UA @ admin @ c:irua:149307 |
Serial |
5648 |
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Author |
van der Snickt, G.; Dubois, H.; Sanyova, J.; Legrand, S.; Coudray, A.; Glaude, C.; Postec, M.; van Espen, P.; Janssens, K. |
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Title |
Large-area elemental imaging reveals Van Eyck's original paint layers on the Ghent altarpiece (1432), rescoping its conservation treatment |
Type |
A1 Journal article |
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Year |
2017 |
Publication |
Angewandte Chemie: international edition in English |
Abbreviated Journal |
Angew Chem Int Edit |
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Volume |
56 |
Issue |
17 |
Pages |
4797-4801 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Abstract |
A combination of large-scale and micro-scale elemental imaging, yielding elemental distribution maps obtained by, respectively non-invasive macroscopic X-ray fluorescence (MA-XRF) and by secondary electron microscopy/energy dispersive X-ray analysis (SEM-EDX) and synchrotron radiation-based micro-XRF (SR m-XRF) imaging was employed to reorient and optimize the conservation strategy of van Eyck's renowned Ghent Altarpiece. By exploiting the penetrative properties of X-rays together with the elemental specificity offered by XRF, it was possible to visualize the original paint layers by van Eyck hidden below the overpainted surface and to simultaneously assess their condition. The distribution of the high-energy Pb-L and Hg-L emission lines revealed the exact location of hidden paint losses, while Fe-K maps demonstrated how and where these lacunae were filled-up using an iron-containing material. The chemical maps nourished the scholarly debate on the overpaint removal with objective, chemical arguments, leading to the decision to remove all skillfully applied overpaints, hitherto interpreted as work by van Eyck. MA-XRF was also employed for monitoring the removal of the overpaint during the treatment phase. To gather complementary information on the in-depth layer build-up, SEM-EDX and SR mu-XRF imaging was used on paint cross sections to record microscale elemental maps. |
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Wos |
000398576000019 |
Publication Date |
2017-03-23 |
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Edition |
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ISSN |
1433-7851; 0570-0833 |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
11.994 |
Times cited |
11 |
Open Access |
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Notes |
; This research was supported by the Baillet Latour fund, the Belgian Science Policy Office (Projects MO/39/011) and the Gieskes-Strijbis fund. The authors are also indebted to the BOF-GOA SOLAR Paint project of the University of Antwerp Research Council. The church wardens of the cathedral of St. Bavo and their chairman L. Collin are acknowledged for this agreeable collaboration. We also wish to thank conservators L. Depuydt, B. De Volder, F. Rosier, N. Laquiere and G. Steyaert as well as the members of the international committee. We are indebted to Prof. Em. A. Van Grevenstein-Kruse. ; |
Approved |
Most recent IF: 11.994 |
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Call Number |
UA @ admin @ c:irua:142376 |
Serial |
5688 |
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