Les efflorescences d’acides gras des peintures à l’huile non vernies / Élodie Niclot in Conservation restauration des biens culturels (CRBC), no.26(2008) (2008-12-01)

Public ISBD [article]  inConservation restauration des biens culturels (CRBC) > no.26(2008) (2008-12-01) . - P. 45-51 Titre : Les efflorescences d’acides gras des peintures à l’huile non vernies : conservation préventive Type de document : texte imprimé Auteurs : Élodie Niclot, Auteur Année de publication : 2008 Article en page(s) : P. 45-51 Langues : Français (fre) Catégories : Acides gras Couleur -- Altération Peinture à l'huile -- Conservation et restauration Peinture à l'huile -- Détérioration -- Recherche Index. décimale : 7.025 Dommages. Conservation. Protection [article] Les efflorescences d’acides gras des peintures à l’huile non vernies : conservation préventive [texte imprimé] / Élodie Niclot, Auteur . - 2008 . - P. 45-51. Langues : Français (fre) in Conservation restauration des biens culturels (CRBC) > no.26(2008) (2008-12-01) . - P. 45-51 Catégories : Acides gras Couleur -- Altération Peinture à l'huile -- Conservation et restauration Peinture à l'huile -- Détérioration -- Recherche Index. décimale : 7.025 Dommages. Conservation. Protection

Phosphorus, Tungsten, and Molybdenum – from Brilliant to Fanal®: Unusual Precipitation Methods of Triphenylmethane Dyes in the Early Twentieth Century in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 569-583 Titre : Phosphorus, Tungsten, and Molybdenum – from Brilliant to Fanal®: Unusual Precipitation Methods of Triphenylmethane Dyes in the Early Twentieth Century Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 569-583 Langues : Anglais (eng) Catégories : Carbone -- Composés Composés phényliques Couleur -- Altération Peinture (produit chimique) -- Constituants Pigments -- Documentation Pigments -- Identification Précipitation (chimie) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Triphenylmethane based dyes became popular after their invention in 1858 due to their brilliant shades and high tinting strengths and were used not only as colourants for textile and paper dyeing, but also as pigments in artists' materials under the commercial name ‘Fanal®’. However, the extent of their use as pigments in artists’ paints has thus far remained unknown. Despite their bright colours, the characteristic low lightfastness of their dyes and pigments inspired further research for new precipitation methods to increase lightfastness, which ultimately resulted in precipitation using complex salts of phosphorus, tungsten, and molybdenum. The present study is based on archival source research from I.G. Farben, the former producer of Fanal®, and Royal Talens, an artists’ paint manufacturer that used these pigments. This research focuses on the history of developments in precipitation methodologies employed for early triphenylmethane dyes and the development of the various lines of Fanal® pigments in oil paints produced by the Dutch manufacturer Talens in the late 1920s and onwards. Historic literature sources, such as the Talens publication Kunstschildersmaterialen en Schildertechniek by Frits Kerdijk that document the application of Fanal® pigments, are also highlighted. En ligne : https://www.tandfonline.com/toc/ysic20/67/8?nav=tocList [article] Phosphorus, Tungsten, and Molybdenum – from Brilliant to Fanal®: Unusual Precipitation Methods of Triphenylmethane Dyes in the Early Twentieth Century [texte imprimé] . - 2022 . - P. 569-583. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 569-583 Catégories : Carbone -- Composés Composés phényliques Couleur -- Altération Peinture (produit chimique) -- Constituants Pigments -- Documentation Pigments -- Identification Précipitation (chimie) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Triphenylmethane based dyes became popular after their invention in 1858 due to their brilliant shades and high tinting strengths and were used not only as colourants for textile and paper dyeing, but also as pigments in artists' materials under the commercial name ‘Fanal®’. However, the extent of their use as pigments in artists’ paints has thus far remained unknown. Despite their bright colours, the characteristic low lightfastness of their dyes and pigments inspired further research for new precipitation methods to increase lightfastness, which ultimately resulted in precipitation using complex salts of phosphorus, tungsten, and molybdenum. The present study is based on archival source research from I.G. Farben, the former producer of Fanal®, and Royal Talens, an artists’ paint manufacturer that used these pigments. This research focuses on the history of developments in precipitation methodologies employed for early triphenylmethane dyes and the development of the various lines of Fanal® pigments in oil paints produced by the Dutch manufacturer Talens in the late 1920s and onwards. Historic literature sources, such as the Talens publication Kunstschildersmaterialen en Schildertechniek by Frits Kerdijk that document the application of Fanal® pigments, are also highlighted. En ligne : https://www.tandfonline.com/toc/ysic20/67/8?nav=tocList

Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 556-568 Titre : Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 556-568 Langues : Anglais (eng) Catégories : Couleur -- Altération Peinture à l'huile -- 18e siècle -- Analyse Peintures -- 18e siècle -- Colonies britanniques -- Amérique Pigments minéraux -- Déterioration Raman, Effet augmenté en surface Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The identification of organic colorants in traditional oil paintings is an important and challenging area of conservation research. Since many organic dyes and pigments are fugitive, the detection of these materials is crucial for the proper assessment of fading, conservation treatment, and the prevention of further photodamage. While numerous methods exist to characterize colorants, recent advances in surface-enhanced Raman scattering (SERS) methodologies have enabled the unambiguous identification of various organic dyestuffs in oil paintings in a minimally invasive manner. Here, we apply a collection of SERS-based protocols to identify the organic pigments used in a number of oil paintings that were made in the Southern British colonies of North America during the eighteenth century and are being prepared for exhibition at the Art Museums of Colonial Williamsburg. Questions arose during the painting examinations that would appear to involve color shifts and possible fading. The SERS results reveal the identity of several organic pigments (i.e. carmine lake, madder lake, Reseda lake, indigo, gamboge) in these eighteenth-century portraits, within the broad-scale quantity-rich areas of the composition as well as the more challenging flesh tones and small, yet important, detail regions. We discover the continued use of carmine lake in seven of the ten paintings and identify the blue and yellow organic pigments used in this group, both of which contribute to our understanding of pigment availability and artists’ choices, as well as supporting the more accurate assessment of condition and the artists’ original intent. [article] Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings [texte imprimé] . - 2022 . - P. 556-568. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 556-568 Catégories : Couleur -- Altération Peinture à l'huile -- 18e siècle -- Analyse Peintures -- 18e siècle -- Colonies britanniques -- Amérique Pigments minéraux -- Déterioration Raman, Effet augmenté en surface Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The identification of organic colorants in traditional oil paintings is an important and challenging area of conservation research. Since many organic dyes and pigments are fugitive, the detection of these materials is crucial for the proper assessment of fading, conservation treatment, and the prevention of further photodamage. While numerous methods exist to characterize colorants, recent advances in surface-enhanced Raman scattering (SERS) methodologies have enabled the unambiguous identification of various organic dyestuffs in oil paintings in a minimally invasive manner. Here, we apply a collection of SERS-based protocols to identify the organic pigments used in a number of oil paintings that were made in the Southern British colonies of North America during the eighteenth century and are being prepared for exhibition at the Art Museums of Colonial Williamsburg. Questions arose during the painting examinations that would appear to involve color shifts and possible fading. The SERS results reveal the identity of several organic pigments (i.e. carmine lake, madder lake, Reseda lake, indigo, gamboge) in these eighteenth-century portraits, within the broad-scale quantity-rich areas of the composition as well as the more challenging flesh tones and small, yet important, detail regions. We discover the continued use of carmine lake in seven of the ten paintings and identify the blue and yellow organic pigments used in this group, both of which contribute to our understanding of pigment availability and artists’ choices, as well as supporting the more accurate assessment of condition and the artists’ original intent.

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