New insights into the ageing of linseed oil paint binder: a qualitative and quantitative analytical study
This paper presents an analytical investigation of paint reconstructions prepared with linseed oil that have undergone typical 19th century treatments in preparation for painting. The oil was mechanically extracted from the same seed lot, which was then processed by various methods: water washing, h...
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description | This paper presents an analytical investigation of paint reconstructions prepared with linseed oil that have undergone typical 19th century treatments in preparation for painting. The oil was mechanically extracted from the same seed lot, which was then processed by various methods: water washing, heat treatments, and the addition of driers, with and without heat. A modern process lead white (Dutch source, Schoonhoven) and a commercially available vine black were used as pigments. The reconstructions were prepared in 1999, and naturally aged from then onwards. We compared thermogravimetric analysis (TG), which yields macromolecular information, with gas chromatography-mass spectrometry (GC-MS) and direct exposure mass spectrometry (DEMS), which both provide molecular information. The study enabled us to quantitatively demonstrate, for the first time, that the parameters used to identify drying oils are deeply influenced by the history of the paint. In particular, here we show that the ratio between the relative amounts of palmitic and stearic acid (P/S), which is used as an index for differentiating between drying oils, is extremely dependent on the pigments present and the age of the paint. Moreover the study revealed that neither the P/S parameter nor the ratios between the relative amounts of the various dicarboxylic acids (azelaic over suberic and azelaic over sebacic) can be used to trace the sorts of pre-treatment undergone by the oil investigated in this study. The final results represent an important milestone for the scientific community working in the field, highlighting that further research is still necessary to solve the identification of drying oils in works of art. |
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The oil was mechanically extracted from the same seed lot, which was then processed by various methods: water washing, heat treatments, and the addition of driers, with and without heat. A modern process lead white (Dutch source, Schoonhoven) and a commercially available vine black were used as pigments. The reconstructions were prepared in 1999, and naturally aged from then onwards. We compared thermogravimetric analysis (TG), which yields macromolecular information, with gas chromatography-mass spectrometry (GC-MS) and direct exposure mass spectrometry (DEMS), which both provide molecular information. The study enabled us to quantitatively demonstrate, for the first time, that the parameters used to identify drying oils are deeply influenced by the history of the paint. In particular, here we show that the ratio between the relative amounts of palmitic and stearic acid (P/S), which is used as an index for differentiating between drying oils, is extremely dependent on the pigments present and the age of the paint. Moreover the study revealed that neither the P/S parameter nor the ratios between the relative amounts of the various dicarboxylic acids (azelaic over suberic and azelaic over sebacic) can be used to trace the sorts of pre-treatment undergone by the oil investigated in this study. The final results represent an important milestone for the scientific community working in the field, highlighting that further research is still necessary to solve the identification of drying oils in works of art.</description><identifier>ISSN: 1932-6203</identifier><identifier>EISSN: 1932-6203</identifier><identifier>DOI: 10.1371/journal.pone.0049333</identifier><identifier>PMID: 23166642</identifier><language>eng</language><publisher>United States: Public Library of Science</publisher><subject>Acids ; Age Factors ; Aging ; Analysis ; Analytical chemistry ; Archaeology ; Art works ; Biology ; Chemistry ; Coloring Agents - chemistry ; Cultural heritage ; Dicarboxylic acids ; Dicarboxylic Acids - analysis ; Driers ; Drying ; Drying oils ; Fatty acids ; Gas chromatography ; Gas Chromatography-Mass Spectrometry ; Heat treatment ; Heat treatments ; History, 19th Century ; Hygroscopic Agents - analysis ; Hygroscopic Agents - chemistry ; Lead ; Linseed oil ; Linseed Oil - chemistry ; Macromolecules ; Mass spectrometry ; Mass Spectrometry - methods ; Mass spectroscopy ; Materials Science ; Oil ; Oil painting ; Oilseeds ; Paint - analysis ; Painting (Art) ; Paintings - history ; Paints ; Palmitic Acids - analysis ; Parameter identification ; Pigments ; Qualitative analysis ; Saturated fatty acids ; Scientific imaging ; Spectroscopy ; Stearic acid ; Stearic Acids - analysis ; Studies ; Thermogravimetric analysis ; Thermogravimetry ; Water treatment</subject><ispartof>PloS one, 2012-11, Vol.7 (11), p.e49333-e49333</ispartof><rights>COPYRIGHT 2012 Public Library of Science</rights><rights>2012 Bonaduce et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License: https://creativecommons.org/licenses/by/4.0/ (the “License”), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. 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In particular, here we show that the ratio between the relative amounts of palmitic and stearic acid (P/S), which is used as an index for differentiating between drying oils, is extremely dependent on the pigments present and the age of the paint. Moreover the study revealed that neither the P/S parameter nor the ratios between the relative amounts of the various dicarboxylic acids (azelaic over suberic and azelaic over sebacic) can be used to trace the sorts of pre-treatment undergone by the oil investigated in this study. The final results represent an important milestone for the scientific community working in the field, highlighting that further research is still necessary to solve the identification of drying oils in works of art.</description><subject>Acids</subject><subject>Age Factors</subject><subject>Aging</subject><subject>Analysis</subject><subject>Analytical chemistry</subject><subject>Archaeology</subject><subject>Art works</subject><subject>Biology</subject><subject>Chemistry</subject><subject>Coloring Agents - chemistry</subject><subject>Cultural heritage</subject><subject>Dicarboxylic acids</subject><subject>Dicarboxylic Acids - analysis</subject><subject>Driers</subject><subject>Drying</subject><subject>Drying oils</subject><subject>Fatty acids</subject><subject>Gas chromatography</subject><subject>Gas Chromatography-Mass Spectrometry</subject><subject>Heat treatment</subject><subject>Heat treatments</subject><subject>History, 19th Century</subject><subject>Hygroscopic Agents - analysis</subject><subject>Hygroscopic Agents - 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The oil was mechanically extracted from the same seed lot, which was then processed by various methods: water washing, heat treatments, and the addition of driers, with and without heat. A modern process lead white (Dutch source, Schoonhoven) and a commercially available vine black were used as pigments. The reconstructions were prepared in 1999, and naturally aged from then onwards. We compared thermogravimetric analysis (TG), which yields macromolecular information, with gas chromatography-mass spectrometry (GC-MS) and direct exposure mass spectrometry (DEMS), which both provide molecular information. The study enabled us to quantitatively demonstrate, for the first time, that the parameters used to identify drying oils are deeply influenced by the history of the paint. In particular, here we show that the ratio between the relative amounts of palmitic and stearic acid (P/S), which is used as an index for differentiating between drying oils, is extremely dependent on the pigments present and the age of the paint. Moreover the study revealed that neither the P/S parameter nor the ratios between the relative amounts of the various dicarboxylic acids (azelaic over suberic and azelaic over sebacic) can be used to trace the sorts of pre-treatment undergone by the oil investigated in this study. The final results represent an important milestone for the scientific community working in the field, highlighting that further research is still necessary to solve the identification of drying oils in works of art.</abstract><cop>United States</cop><pub>Public Library of Science</pub><pmid>23166642</pmid><doi>10.1371/journal.pone.0049333</doi><tpages>e49333</tpages><oa>free_for_read</oa></addata></record> |
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source | MEDLINE; DOAJ Directory of Open Access Journals; Public Library of Science (PLoS) Journals Open Access; EZB-FREE-00999 freely available EZB journals; PubMed Central; Free Full-Text Journals in Chemistry |
subjects | Acids Age Factors Aging Analysis Analytical chemistry Archaeology Art works Biology Chemistry Coloring Agents - chemistry Cultural heritage Dicarboxylic acids Dicarboxylic Acids - analysis Driers Drying Drying oils Fatty acids Gas chromatography Gas Chromatography-Mass Spectrometry Heat treatment Heat treatments History, 19th Century Hygroscopic Agents - analysis Hygroscopic Agents - chemistry Lead Linseed oil Linseed Oil - chemistry Macromolecules Mass spectrometry Mass Spectrometry - methods Mass spectroscopy Materials Science Oil Oil painting Oilseeds Paint - analysis Painting (Art) Paintings - history Paints Palmitic Acids - analysis Parameter identification Pigments Qualitative analysis Saturated fatty acids Scientific imaging Spectroscopy Stearic acid Stearic Acids - analysis Studies Thermogravimetric analysis Thermogravimetry Water treatment |
title | New insights into the ageing of linseed oil paint binder: a qualitative and quantitative analytical study |
url | https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2024-12-23T07%3A39%3A03IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-gale_plos_&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=New%20insights%20into%20the%20ageing%20of%20linseed%20oil%20paint%20binder:%20a%20qualitative%20and%20quantitative%20analytical%20study&rft.jtitle=PloS%20one&rft.au=Bonaduce,%20Ilaria&rft.date=2012-11-14&rft.volume=7&rft.issue=11&rft.spage=e49333&rft.epage=e49333&rft.pages=e49333-e49333&rft.issn=1932-6203&rft.eissn=1932-6203&rft_id=info:doi/10.1371/journal.pone.0049333&rft_dat=%3Cgale_plos_%3EA477090467%3C/gale_plos_%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_pqid=1339168602&rft_id=info:pmid/23166642&rft_galeid=A477090467&rft_doaj_id=oai_doaj_org_article_76913e217e814d35a6f6db6104cc58fc&rfr_iscdi=true |