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“Synchrotron-based X-ray absorption spectroscopy for art conservation: looking back and looking forward”. Cotte M, Susini J, Dik J, Janssens K, Accounts of chemical research 43, 705 (2010). http://doi.org/10.1021/AR900199M
Abstract: A variety of analytical techniques augmented by the use of synchrotron radiation (SR), such as X-ray fluorescence (SR-XRF) and X-ray diffraction (SR-XRD), are now readily available, and they differ little, conceptually, from their common laboratory counterparts. Because of numerous advantages afforded by SR-based techniques over benchtop versions, however, SR methods have become popular with archaeologists, art historians, curators, and other researchers in the field of cultural heritage (CH). Although the CH community now commonly uses both SR-XRF and SR-XRD, the use of synchrotron-based X-ray absorption spectroscopy (SR-XAS) techniques remains marginal, mostly because CH specialists rarely interact with SR physicists. In this Account, we examine the basic principles and capabilities of XAS techniques in art preservation. XAS techniques offer a combination of features particularly well-suited for the chemical analysis of works of art. The methods are noninvasive, have low detection limits, afford high lateral resolution, and provide exceptional chemical sensitivity. These characteristics are highly desirable for the chemical characterization of precious, heterogeneous, and complex materials. In particular, the chemical mapping capability, with high spatial resolution that provides information about local composition and chemical states, even for trace elements, is a unique asset. The chemistry involved in both the objects history (that is, during fabrication) and future (that is, during preservation and restoration treatments) can be addressed by XAS. On the one hand, many studies seek to explain optical effects occurring in historical glasses or ceramics by probing the molecular environment of relevant chromophores. Hence, XAS can provide insight into craft skills that were mastered years, decades, or centuries ago but were lost over the course of time. On the other hand, XAS can also be used to characterize unwanted reactions, which are then considered alteration phenomena and can dramatically alter the objects original visual properties. In such cases, the bulk elemental composition is usually unchanged. Hence, monitoring oxidation state (or, more generally, other chemical modifications) can be of great importance. Recent applications of XAS in art conservation are reviewed and new trends are discussed, highlighting the value (and future possibilities) of XAS, which remains, given its potential, underutilized in the CH community.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 20.268
Times cited: 74
DOI: 10.1021/AR900199M
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“Synchrotron radiation in art and archaeology”. Janssens K, Journal of analytical atomic spectrometry 26, 883 (2011). http://doi.org/10.1039/C1JA90015C
Keywords: Editorial; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.379
Times cited: 5
DOI: 10.1039/C1JA90015C
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“Technoques and applications of Surface-Enhanced Raman Scattering Spectroscopy (SERSS) focused on cultural heritage”. Kuckova S, Hamidi-Asl E, Matulkova I, Hynek R, De Wael K, Sanyova J, Janssens K, Chemické, listy 112, 312 (2018)
Abstract: The review is devoted to a modern method of vibrational spectroscopy – surface enhanced Raman spectroscopy Its principle and some of its special variants (imunnoSERS and TERS (Tip-Enhanced Raman Spectroscopy)) are described m a simpinified manner Wide application possibilities are demonstrated on selected examples from its application m culturinl heritage.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 0.387
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“The hidden youth of Dirck Jacobsz leeuw : a portrait by Govert Flinck revealed”. Van Hommes ME, Lambour R, Du Mortier BM, De Winkel M, Tauber G, Alfeld M, Janssens K, Dik J, The Rijksmuseum bulletin 64, 4 (2016)
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“The ID21 X-ray and infrared microscopy beamline at the ESRF: status and recent applications to artistic materials”. Cotte M, Pouyet E, Salome M, Rivard C, De Nolf W, Castillo-Michel H, Fabris T, Monico L, Janssens K, Wang T, Sciau P, Verger L, Cormier L, Dargaud O, Brun E, Bugnazet D, Fayard B, Hesse B, del Real AEP, Veronesi G, Langlois J, Balcar N, Vandenberghe Y, Sole VA, Kieffer J, Barrett R, Cohen C, Cornu C, Baker R, Gagliardini E, Papillon E, Susini J, Journal of analytical atomic spectrometry 32, 477 (2017). http://doi.org/10.1039/C6JA00356G
Abstract: The ID21 beamline (European Synchrotron Radiation facility, France) is a multi micro-analytical platform combining X-ray and infrared micro-probes, for characterization of elements, species, molecular groups and crystalline structures in complex materials. Applications are mainly in the fields of cultural heritage, life science, environmental and earth sciences, materials sciences. Here, we first present the status of instruments: (i) the scanning micro-spectroscopy end-station, operating from 2.0 to 9.2 keV, under vacuum and offering cryo conditions, for the acquisition of 2D micro X-ray fluorescence (mu XRF) maps, single point micro X-ray Absorption Near Edge Structure (mu XANES) spectra and speciation maps with sub-micrometric resolution; (ii) the XANES full-field end-station, operating in the same vacuum and energy conditions, for the acquisition of hyper-spectral radiographs of thin concentrated samples, resulting in speciation maps with micrometric resolution and millimetric field of view; (iii) the scanning micro-X-ray diffraction (mu XRD)/mu XRF end-station, operating at 8.5 keV, in air, for the acquisition of 2D crystalline phase maps, with micrometric resolution; and (iv) the scanning infrared microscope, operating in the mid-infrared range for the acquisition of molecular maps and some structural maps with micrometric resolution. Recent hardware and software developments are presented, as well as new protocols for improved sample preparation of thin sections. Secondly, a review of recent applications for the study of cultural heritage is presented, illustrated by various examples: determination of the origin of the color in blue Chinese porcelains and in brown Sevres porcelains; detection of lead in ink on Herculaneum papyri; identification and degradation of modeling materials used by Auguste Rodin and of chrome yellow pigments used by Vincent van Gogh. Cryo capabilities are illustrated by the analysis of plants exposed to chromate solutions. These examples show the variety of materials analyzed, of questions tackled, and particularly the multiple advantages of the ID21 analytical platform for the analysis of ancient and artistic materials.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.379
Times cited: 39
DOI: 10.1039/C6JA00356G
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“The rediscovered portrait of Prospero Farinacci by Caravaggio”. Cardinali M, De Ruggieri MB, Leone G, Prohaska W, Alfeld M, Janssens K, Artibus et historiae : an art anthology , 249 (2016)
Abstract: Caravaggio's early production as a portrait painter is still the subject of research and a fount of enigmas. Despite the numerous citations in documents, only rarely have these been linked unequivocally to paintings known to date. This is also the case with the `portrait of Farinaccio criminalist painted on a head-size canvas believed to be by Michelangelo from Caravaggio', that was listed in the 1638 inventory of the Marquis Giustiniani and with `the speaker wearing a robe, painted by Caravaggio' on a head-size canvas, owned in 1652 by Caterina Campani, Onorio Longhi's wife. The present multidisciplinary research examines the rediscovery of the portrait of Prospero Farinacci by Caravaggio. The painting, undisclosed until now, hides an underlying female portrait. The authors investigate both compositions from a technical, iconographical and critical point of view, supporting Caravaggio's attribution. The technical researches allow cross-validation in the brushwork and materials of the picture, compared to Caravaggio's early painting technique and style. The portrait of Maffeo Barberini, recently re-ascribed to Caravaggio, shows a significant similarity, while the underlying woman of the retrieved painting closely resembles the gipsy of the Louvre Fortune Teller. In addition, a newly introduced and advanced imaging technique (MaXRF) has detected on the male portrait the feature of the lawyer's robe, which supports the identification with Prospero Farinacci. The intriguing topic of physiognomic accuracy versus stylizing tendency in Caravaggio's portraiture is considered with the aid of Giulio Mancini's observations. Besides, the possible interpretation of the underlying figure as a religious subject sheds a light on the obscure activity of the young Caravaggio in Lorenzo Carli's workshop, recently brought to scholars' attention by new documents and hypotheses.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“The use of synchrotron radiation for the characterization of artists' pigments and paintings”. Janssens K, Alfeld M, van der Snickt G, de Nolf W, Vanmeert F, Radepont M, Monico L, et al, Annual review of analytical chemistry 6, 399 (2013). http://doi.org/10.1146/ANNUREV-ANCHEM-062012-092702
Abstract: We review methods and recent studies in which macroscopic to (sub)microscopic X-ray beams were used for nondestructive analysis and characterization of pigments, paint microsamples, and/or entire paintings. We discuss the use of portable laboratory- and synchrotron-based instrumentation and describe several variants of X-ray fluorescence (XRF) analysis used for elemental analysis and imaging and combined with X-ray diffraction (XRD) and X-ray absorption spectroscopy (XAS). Macroscopic and microscopic (μ-)XRF variants of this method are suitable for visualizing the elemental distribution of key elements in paint multilayers. Technical innovations such as multielement, large-area XRF detectors have enabled such developments. The use of methods limited to elemental analysis or imaging usually is not sufficient to elucidate the chemical transformations that take place during natural pigment alteration processes. However, synchrotron-based combinations of μ-XRF, μ-XAS, and μ-XRD are suitable for such studies.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 7.435
Times cited: 46
DOI: 10.1146/ANNUREV-ANCHEM-062012-092702
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“Van Gogh's Irises and Roses : the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments”. Centeno SA, Hale C, Caro F, Cesaratto A, Shibayama N, Delaney J, Dooley K, van der Snickt G, Janssens K, Stein SA, Heritage science 5, 18 (2017). http://doi.org/10.1186/S40494-017-0131-8
Abstract: Vincent van Gogh's still lifes Irises and Roses were investigated to shed light onto the degree to which the paintings had changed, both individually and in relation to each other since they were painted, particularly in regard to the fading of the red lakes. Non-invasive techniques, including macroscopic X-ray fluorescence mapping, reflectance imaging spectroscopy, and X-radiography, were combined with microanalytical techniques in a select number of samples. The in-depth microchemical analysis was necessary to overcome the complications that arise when evaluating by non-invasive methods alone the compositions of passages with complex layering and mixing of paints. The results obtained by these two approaches were complemented by color measurements performed on paint cross-sections and on protected edges, and with historical information provided by the artist's own descriptions, early reviews and reproductions, and the data was used to carry out digital color simulations that provided, to a certain extent, a visualization of how the paintings may have originally appeared.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 21
DOI: 10.1186/S40494-017-0131-8
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“Virtual archaeology of altered paintings : multiscale chemical imaging tools”. Janssens K, Legrand S, van der Snickt G, Vanmeert F, Elements 12, 39 (2016). http://doi.org/10.2113/GSELEMENTS.12.1.39
Abstract: Understanding how painted works of art were constructed, layer-by-layer, requires a range of macroscopic and microscopic X-ray and infrared-based analytical methods. Deconstructing complex assemblies of paints horizontally across a picture and vertically through it provides insight into the detailed production process of the art work and on the painting techniques and styles of its maker. The unwanted chemical transformations that some paint pigments undergo are also detectable; these changes can alter the paint's optical properties. Understanding the chemistry behind such paint degradation gives conservators vital clues to counter these effects and is an invaluable asset in protecting these cultural artefacts for future generations.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 4.038
Times cited: 12
DOI: 10.2113/GSELEMENTS.12.1.39
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“Virtual underpainting reconstruction from X-ray fluorescence imaging data”. Anitha A, Brasoveanu A, Duarte MF, Hughes SM, Daubechies I, Dik J, Janssens K, Alfeld M, , 1239 (2011)
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Macroscopic mid-FTIR mapping and clustering-based automated data-reduction : an advanced diagnostic tool for in situ investigations of artworks”. Sciutto G, Legrand S, Catelli E, Prati S, Malegori C, Oliveri P, Janssens K, Mazzeo R, Talanta 209, 120575 (2020). http://doi.org/10.1016/J.TALANTA.2019.120575
Abstract: The present study describes a multivariate strategy that can be used for automatic on-site processing of reflection mode macro FTIR mapping (MA-rFTIR) data obtained during investigation of artworks. The chemometric strategy is based on the integration of principal component analysis (PCA) with a clustering approach in the space subtended by the three lowest-order principal components and allows to automatically identify the regions of interest (ROIs) of the area scanned and to extract the average FTIR spectra related to each ROI. Thanks to the automatic data management, in-field HSI (hyperspectral imaging)-based analyses may be performed even by staff lacking specific advanced chemometric expertise, as it is sometimes the case for conservation scientists or conservators with a scientific background. MA-rFTIR was only recently introduced in the conservation field and, in this work the technique was employed to characterize the surface of metallic artefacts. The analytical protocol was employed as part of a rapid procedure to evaluate the conservation state and the performance of cleaning methods on bronze objects. Both activities are commonly part of restoration campaigns of bronzes and require an on-site analytical procedure for efficient and effective diagnosis. The performance of the method was first evaluated on aged standard samples (bronzes with a layer of green basic copper hydroxysulphate, treated with different organic coatings) and then scrutinized in situ on areas of the 16th century Neptune fountain statue (Piazza del Nettuno, Bologna, Italy) by Gianbologna.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.1
DOI: 10.1016/J.TALANTA.2019.120575
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“Nanoscale investigation of the degradation mechanism of a historical chrome yellow paint by quantitative electron energy loss spectroscopy mapping of chromium species”. Tan H, Tian H, Verbeeck J, Janssens K, Van Tendeloo G, Angewandte Chemie: international edition in English 52, 11360 (2013). http://doi.org/10.1002/anie.201305753
Abstract: Getting the picture: The investigation of 100 year old chrome yellow paint by transmission electron microscopy and spectroscopy has led to the identification of four types of coreshell particles. This nanoscale investigation has allowed a mechanism to be proposed for the darkening of some bright yellow colors in Van Gogh's paintings (e.g. in Falling leaves (Les Alyscamps), 1888).
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 11.994
Times cited: 29
DOI: 10.1002/anie.201305753
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“Deeper insights into the photoluminescence properties and (photo)chemical reactivity of cadmium red (CdS1-xSex) paints in renowned twentieth century paintings by state-of-the-art investigations at multiple length scales”. Monico L, Rosi F, Vivani R, Cartechini L, Janssens K, Gauquelin N, Chezganov D, Verbeeck J, Cotte M, D'Acapito F, Barni L, Grazia C, Buemi LP, Andral J-L, Miliani C, Romani A, The European Physical Journal Plus 137, 311 (2022). http://doi.org/10.1140/EPJP/S13360-022-02447-7
Abstract: Cadmium red is the name used for denoting a class of twentieth century artists' pigments described by the general formula CdS1-xSex. For their vibrant hues and excellent covering power, a number of renowned modern and contemporary painters, including Jackson Pollock, often used cadmium reds. As direct band gap semiconductors, CdS1-xSex compounds undergo direct radiative recombination (with emissions from the green to orange region) and radiative deactivation from intragap trapping states due to crystal defects, which give rise to two peculiar red-NIR emissions, known as deep level emissions (DLEs). The positions of the DLEs mainly depend on the Se content of CdS1-xSex; thus, photoluminescence and diffuse reflectance vis-NIR spectroscopy have been profitably used for the non-invasive identification of different cadmium red varieties in artworks over the last decade. Systematic knowledge is however currently lacking on what are the parameters related to intrinsic crystal defects of CdS1-xSex and environmental factors influencing the spectral properties of DLEs as well as on the overall (photo)chemical reactivity of cadmium reds in paint matrixes. Here, we present the application of a novel multi-length scale and multi-method approach to deepen insights into the photoluminescence properties and (photo)chemical reactivity of cadmium reds in oil paintings by combining both well established and new non-invasive/non-destructive analytical techniques, including macro-scale vis-NIR and vibrational spectroscopies and micro-/nano-scale advanced electron microscopy mapping and X-ray methods employing synchrotron radiation and conventional sources. Macro-scale vis-NIR spectroscopy data obtained from the in situ non-invasive analysis of nine masterpieces by Gerardo Dottori, Jackson Pollock and Nicolas de Stael allowed classifying the CdS1-xSex-paints in three groups, according to the relative intensity of the two DLE bands. These outcomes, combined with results from micro-/nano-scale electron microscopy mapping and X-ray analysis of a set of CdS1-xSex powders and artificially aged paint mock-ups, indicated that the relative intensity of DLEs is not affected by the morphology, microstructure and local atomic environment of the pigment particles but it is influenced by the presence of moisture. Furthermore, the extensive study of artificially aged oil paint mock-ups permitted us to provide first evidence of the tendency of cadmium reds toward photo-degradation and to establish that the conversion of CdS1-xSex to CdSO4 and/or oxalates is triggered by the oil binding medium and moisture level and depends on the Se content. Based on these findings, we could interpret the localized presence of CdSO4 and cadmium oxalate as alteration products of the original cadmium red paints in two paintings by Pollock.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 3.4
Times cited: 3
DOI: 10.1140/EPJP/S13360-022-02447-7
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“Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of spectromicroscopic methods : 3 : synthesis, characterization, and detection of different crystal forms of the chrome yellow pigment”. Monico L, Janssens K, Miliani C, Brunetti BG, Vagnini M, Vanmeert F, Falkenberg G, Abakumov A, Lu Y, Tian H, Verbeeck J, Radepont M, Cotte M, Hendriks E, Geldof M, van der Loeff L, Salvant J, Menu M;, Analytical chemistry 85, 860 (2013). http://doi.org/10.1021/ac302158b
Abstract: The painter, Vincent van Gogh, and some of his contemporaries frequently made use of the pigment chrome yellow that is known to show a tendency toward darkening. This pigment may correspond to various chemical compounds such as PbCrO4 and PbCr1-xSxO4, that may each be present in various crystallographic forms with different tendencies toward degradation. Investigations by X-ray diffraction (XRD), mid-Fourier Transform infrared (FTIR), and Raman instruments (benchtop and portable) and synchrotron radiation-based micro-XRD and X-ray absorption near edge structure spectroscopy performed on oil-paint models, prepared with in-house synthesized PbCrO4 and PbCr1-xSxO4, permitted us to characterize the spectroscopic features of the various forms. On the basis of these results, an extended study has been carried out on historic paint tubes and on embedded paint microsamples taken from yellow-orange/pale yellow areas of 12 Van Gogh paintings, demonstrating that Van Gogh effectively made use of different chrome yellow types. This conclusion was also confirmed by in situ mid-FTIR investigations on Van Goghs Portrait of Gauguin (Van Gogh Museum, Amsterdam).
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 79
DOI: 10.1021/ac302158b
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“Enamels in stained glass windows: preparation, chemical composition, microstructure and causes of deterioration”. Schalm O, van der Linden V, Frederickx P, Luyten S, van der Snickt G, Caen J, Schryvers D, Janssens K, Cornelis E, van Dyck D, Schreiner M, Spectrochimica acta: part B : atomic spectroscopy 64, 812 (2009). http://doi.org/10.1016/j.sab.2009.06.005
Abstract: Stained glass windows incorporating dark blue and purple enamel paint layers are in some cases subject to severe degradation while others from the same period survived the ravages of time. A series of dark blue, greenblue and purple enamel glass paints from the same region (Northwestern Europe) and from the same period (16early 20th centuries) has been studied by means of a combination of microscopic X-ray fluorescence analysis, electron probe micro analysis and transmission electron microscopy with the aim of better understanding the causes of the degradation. The chemical composition of the enamels diverges from the average chemical composition of window glass. Some of the compositions appear to be unstable, for example those with a high concentration of K2O and a low content of CaO and PbO. In other cases, the deterioration of the paint layers was caused by the less than optimal vitrification of the enamel during the firing process. Recipes and chemical compositions indicate that glassmakers of the 1617th century had full control over the color of the enamel glass paints they made. They mainly used three types of coloring agents, based on Co (dark blue), Mn (purple) and Cu (light-blue or greenblue) as coloring elements. Bluepurple enamel paints were obtained by mixing two different coloring agents. The coloring agent for redpurple enamel, introduced during the 19th century, was colloidal gold embedded in grains of lead glass.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Vision lab
Impact Factor: 3.241
Times cited: 28
DOI: 10.1016/j.sab.2009.06.005
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“Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of synchrotron X-ray spectromicroscopy and related methods : 1 : artificially aged model samples”. Monico L, van der Snickt G, Janssens K, de Nolf W, Miliani C, Verbeeck J, Tian H, Tan H, Dik J, Radepont M, Cotte M, Analytical chemistry 83, 1214 (2011). http://doi.org/10.1021/ac102424h
Abstract: On several paintings by artists of the end of the 19th century and the beginning of the 20th Century a darkening of the original yellow areas, painted with the chrome yellow pigment (PbCrO4, PbCrO4·xPbSO4, or PbCrO4·xPbO) is observed. The most famous of these are the various Sunflowers paintings Vincent van Gogh made during his career. In the first part of this work, we attempt to elucidate the degradation process of chrome yellow by studying artificially aged model samples. In view of the very thin (1−3 μm) alteration layers that are formed, high lateral resolution spectroscopic methods such as microscopic X-ray absorption near edge (μ-XANES), X-ray fluorescence spectrometry (μ-XRF), and electron energy loss spectrometry (EELS) were employed. Some of these use synchrotron radiation (SR). Additionally, microscopic SR X-ray diffraction (SR μ-XRD), μ-Raman, and mid-FTIR spectroscopy were employed to completely characterize the samples. The formation of Cr(III) compounds at the surface of the chrome yellow paint layers is particularly observed in one aged model sample taken from a historic paint tube (ca. 1914). About two-thirds of the chromium that is present at the surface has reduced from the hexavalent to the trivalent state. The EELS and μ-XANES spectra are consistent with the presence of Cr2O3·2H2O (viridian). Moreover, as demonstrated by μ-XANES, the presence of another Cr(III) compound, such as either Cr2(SO4)3·H2O or (CH3CO2)7Cr3(OH)2 [chromium(III) acetate hydroxide], is likely.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 113
DOI: 10.1021/ac102424h
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“A combined experimental and computational approach to understanding CdS pigment oxidation in a renowned early 20th century painting”. Mayda S, Monico L, Krishnan D, De Meyer S, Cotte M, Garrevoet J, Falkenberg G, Sandu ICA, Partoens B, Lamoen D, Romani A, Miliani C, Verbeeck J, Janssens K, Chemistry of materials 35, 10403 (2023). http://doi.org/10.1021/ACS.CHEMMATER.3C01470
Abstract: Cadmium sulfide (CdS)-based yellow pigments have been used in a number of early 20th century artworks, including The Scream series painted by Edvard Munch. Some of these unique paintings are threatened by the discoloration of these CdS-based yellow oil paints because of the oxidation of the original sulfides to sulfates. The experimental data obtained here prove that moisture and cadmium chloride compounds play a key role in promoting such oxidation. To clarify how these two factors effectively prompt the process, we studied the band alignment between CdS, CdCl2, and Cd-(OH)Cl as well as the radicals center dot OH and H3O center dot by density functional theory (DFT) methods. Our results show that a stack of several layers of Cd-(OH)Cl creates a pocket of positive holes at the Cl-terminated surface and a pocket of electrons at the OH-terminated surface by leading in a difference in ionization energy at both surfaces. The resulting band alignment indicates that Cd-(OH)Cl can indeed play the role of an oxidative catalyst for CdS in a moist environment, thus providing an explanation for the experimental evidence.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); Condensed Matter Theory (CMT); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 8.6
DOI: 10.1021/ACS.CHEMMATER.3C01470
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“Unraveling the Role of Lattice Substitutions on the Stabilization of the Intrinsically Unstable Pb2Sb2O7Pyrochlore: Explaining the Lightfastness of Lead Pyroantimonate Artists&rsquo, Pigments”. Marchetti A, Saniz R, Krishnan D, Rabbachin L, Nuyts G, De Meyer S, Verbeeck J, Janssens K, Pelosi C, Lamoen D, Partoens B, De Wael K, Chemistry Of Materials 32, 2863 (2020). http://doi.org/10.1021/acs.chemmater.9b04821
Abstract: The pyroantimonate pigments Naples yellow and lead tin antimonate yellow are recognized as some of the most stable synthetic yellow pigments in the history of art. However, this exceptional lightfastness is in contrast with experimental evidence suggesting that this class of mixed oxides is of semiconducting nature. In this study the electronic structure and light-induced behavior of the lead pyroantimonate pigments were determined by means of a combined multifaceted analytical and computational approach (photoelectrochemical measurements, UV-vis diffuse reflectance spectroscopy, STEM-EDS, STEM-HAADF, and density functional theory calculations). The results demonstrate both the semiconducting nature and the lightfastness of these pigments. Poor optical absorption and minority carrier mobility are the main properties responsible for the observed stability. In addition, novel fundamental insights into the role played by Na atoms in the stabilization of the otherwise intrinsically unstable Pb2Sb2O7 pyrochlore were obtained.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Electron microscopy for materials research (EMAT); Condensed Matter Theory (CMT)
Impact Factor: 8.6
Times cited: 8
DOI: 10.1021/acs.chemmater.9b04821
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“Casting light on the darkening of colors in historical paintings”. da Pieve F, Hogan C, Lamoen D, Verbeeck J, Vanmeert F, Radepont M, Cotte M, Janssens K, Gonze X, Van Tendeloo G, Physical review letters 111, 208302 (2013). http://doi.org/10.1103/PhysRevLett.111.208302
Abstract: The degradation of colors in historical paintings affects our cultural heritage in both museums and archeological sites. Despite intensive experimental studies, the origin of darkening of one of the most ancient pigments known to humankind, vermilion (α-HgS), remains unexplained. Here, by combining many-body theoretical spectroscopy and high-resolution microscopic x-ray diffraction, we clarify the composition of the damaged paint work and demonstrate possible physicochemical processes, induced by illumination and exposure to humidity and air, that cause photoactivation of the original pigment and the degradation of the secondary minerals. The results suggest a new path for the darkening process which was never considered by previous studies and prompt a critical examination of their findings.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 8.462
Times cited: 30
DOI: 10.1103/PhysRevLett.111.208302
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