Francesca Caterina Izzo

Quantitative determination of un-derivatised amino acids in artistic mural paintings using high-performance liquid chromatography/electrospray ionization triple quadrupole mass spectrometry

The tempera painting technique is one of the most common methods used throughout art history. Tempera is defined by the type of binders used and in this work we study protein-based temperas. Proteinaceous binders can be characterized by the chromatographic determination of the amino acids present where techniques are either based on gas chromatography or high-performance liquid chromatography (HPLC) coupled to mass spectrometry. The objective of this work was to develop a derivatisation-free HPLC method with triple quadrupole tandem mass spectrometric detection (HPLC/ESI-MS/MS) of 21 amino acids contained in the protein-based binders of tempera paints. The analytical method identifies the painting techniques of two contemporary artists: Sironi and DeLuigi. The sample data are compared to painting material standards. The results show that the samples from works by DeLuigi contain mainly animal glue binders, while the samples from Sironi paintings contain binders that are an amino acid mixture with an overall composition between that of eggs and casein.

Modern Oil Paints – Formulations, Organic Additives and Degradation: Some Case Studies

This study examines some of the degradation phenomena exhibited by modern oil paintings and twentieth century oil paint formulations and possible correlations with the various organic additives typically introduced by manufacturers. The research takes into consideration historical and modern tube oil paints produced by different European manufacturers and selected twentieth century oil paintings which showed degradation problems such as efflorescence, softening, cracks and sensitivity towards water and polar solvents. The composition of oil paints and paintings samples was studied with XRF, SEM-EDX, ATR-FTIR and GCMS. The results showed that both artists’ oil paints and paintings samples contain a complex mixture of additives to the oil binders and pigments. The presence of aluminium and zinc stearates, added as dispersion agent gelling agents, was detected in most paint formulations of HKS, W&N, Talens and Maimeri (c. 1940-present). Several paint films showed an unusually high content of fatty diacids, suggesting that, in drying, an oxidative reaction was favoured above polymerisation. This occurrence, together with the diversity of lipidic media, additives, pigments and driers present in the industrial formulations could play a crucial role in paint failure and instability, as showed by the analysed case studies. The obtained results may help understanding the behaviour of modern oil paints and painting surfaces and contribute to improved conservation methods.

Tangible versus intangible in e-learning on cultural heritage : from online learning to on-site study of historic sites

The revolutionary development in digital theory and technology calls for non-trivial decisions in bridging between the virtual and real worlds. The field of conservation of cultural heritage thus provides various challenges, especially with regards to learning, study and investigation of tangible heritage through applications of intangible ICT technologies. This paper examines the interaction between e-learning, and the actual on-site learning and study of historic buildings and sites, with an emphasis on their visual characteristics. In this context, the paper presents some aspects of application of a methodology which allows basic documentation, monitoring and primary analysis of data on cultural (built) heritage sites by general public through educational process enabled by an e-learning platform.

An Investigation into the Viability of Removal of Lead Soap Efflorescence from Contemporary Oil Paintings

Metal soap efflorescent hazes and crusts are one of the most visually disturbing of all metal soap related alterations in paintings. The phenomenon presents particular challenges for conservators as the surface deposits that form are insoluble and intimately bound with the paint film. The superficial deposits accumulate following migration of metal carboxylates, a product formed within the paint film from reaction of free fatty acids with metal ions from pigments and/or driers. Upon deposition at the surface, the metal carboxylates undergo a process of remineralisation, the products of which are determined by the atmospheric conditions that the painting is exposed to. The material can appear optically similar to the whitish haze of organic efflorescence though manifestations also range from crystalline clusters to thick crusts, and in some cases the painting may consequently be rendered partially unreadable. This study aimed to investigate the removal of visually disturbing lead soap efflorescence with Ethylenediaminetetraacetic acid (EDTA), which sequesters the lead ions from the remineralised crust. Through a careful balance of variables such as pH, concentration and application, it is feasible to thin the superficial material significantly. By this means it is possible to saturate the surface of the paint film and render the previously disfiguring efflorescence transparent. Paintings previously treated with this method show no signs of recurrence and thus it appears to be a viable, long-term treatment option.

A review of common NDTs in the monitoring and preservation of historical architectural surfaces

ABSTRACT This contribution deals with the application of non destructive techniques (NDTs) in the assessment and monitoring of the state of conservation of historical architectural surfaces, during and after restoration and maintenance interventions. The aim is to present the authors’ direct and in-situ experience with the applications of NDTs among noteworthy real case studies in relation to selected common types of decay. Thermal imaging, ultrasonic investigation, testing for the assessment of physicochemical properties, and Raman spectroscopy were all performed in order to address, diagnose, and monitor: detachments, loss of material coherence, discoloration, superficial deposits, and rising damp and moisture in several important Italian built heritage (e.g., the Ghirlandina Tower in Modena, the Sacra of San Michele near Turin, and the Narthex of Saint Mark’s Basilica in Venice).