Analysis of green pigments: The case of Almada Negreiros maritime station murals in Lisbon (Portugal)

IF 2.4 3区 化学 Q2 SPECTROSCOPY
Sara Valadas, Peter Vandenabeele, Milene Gil, José C. Frade, Eva Vermeersch, Sylvia Lycke, Luís Dias, António Candeias, Mafalda Costa
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Abstract

In 1949, Almada Negreiros painted at the maritime station of Rocha do Conde de Óbidos, in Lisbon, six monumental mural paintings, which are considered as his highest artistic achievement. On these paintings, he resorted to a bright colourful palette, which needs to be studied to support conservation and preservation of these artworks for future generations. Among the pigments under study within project ALMADA, the identification of the green samples is the most challenging, as Almada Negreiros seems to have explored different hues by using simultaneously inorganic (e.g., emerald green, Scheele's green and viridian) as well as organo-synthetic pigments that were rather unusual when employing a traditional mural painting technique (e.g., PG7 and PG8). Moreover, he seems to have admixed white (e.g., titanium white) or blue pigments (e.g., ultramarine) to modify the hues. The different colourants found, as well as the use of mixtures of pigments, hints that Almada Negreiros was keen on experimenting and applying relatively novel painting materials. Raman spectroscopy, given its ability to identify inorganic as well as organic components, is a key analytical tool to discriminate between all these compounds. The findings were also supported by complimentary analytical techniques, including colourimetry, handheld X-ray fluorescence spectroscopy (h-XRF) and micro-Fourier-transform infrared spectroscopy (μ-FT-IR). Identification of the green pigments by Raman spectroscopy is, however, not always straightforward, and it is demonstrated how changes in relative band intensities and band broadening can point to mixtures, where the Raman spectral features of some compounds can easily be overseen in the spectrum.

Abstract Image

绿色颜料分析:里斯本(葡萄牙)阿尔马达-内格雷罗海运站壁画案例
1949 年,阿尔马达-内格雷罗斯在里斯本的 Rocha do Conde de Óbidos 海洋站绘制了六幅不朽的壁画,这被认为是他的最高艺术成就。在这些画作中,他使用了色彩鲜艳的调色板,需要对其进行研究,以便为后代保护和保存这些艺术品提供支持。在 ALMADA 项目所研究的颜料中,绿色样本的鉴定最具挑战性,因为 Almada Negreiros 似乎同时使用了无机颜料(如祖母绿、谢尔绿和病毒绿)和有机合成颜料来探索不同的色调,而这些颜料在使用传统壁画技术时是相当少见的(如 PG7 和 PG8)。此外,他似乎还掺入了白色(如钛白)或蓝色颜料(如群青)来改变色调。发现的不同着色剂以及颜料混合物的使用,表明阿尔马达-内格雷罗斯热衷于试验和应用相对新颖的绘画材料。拉曼光谱能够识别无机和有机成分,是区分所有这些化合物的关键分析工具。色度法、手持式 X 射线荧光光谱仪 (h-XRF) 和微傅立叶变换红外光谱仪 (μ-FT-IR)等辅助分析技术也为研究结果提供了支持。然而,通过拉曼光谱鉴别绿色颜料并不总是那么简单,研究表明,相对波段强度和波段展宽的变化可以指向混合物,在混合物中,某些化合物的拉曼光谱特征很容易在光谱中被发现。
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来源期刊
CiteScore
5.40
自引率
8.00%
发文量
185
审稿时长
3.0 months
期刊介绍: The Journal of Raman Spectroscopy is an international journal dedicated to the publication of original research at the cutting edge of all areas of science and technology related to Raman spectroscopy. The journal seeks to be the central forum for documenting the evolution of the broadly-defined field of Raman spectroscopy that includes an increasing number of rapidly developing techniques and an ever-widening array of interdisciplinary applications. Such topics include time-resolved, coherent and non-linear Raman spectroscopies, nanostructure-based surface-enhanced and tip-enhanced Raman spectroscopies of molecules, resonance Raman to investigate the structure-function relationships and dynamics of biological molecules, linear and nonlinear Raman imaging and microscopy, biomedical applications of Raman, theoretical formalism and advances in quantum computational methodology of all forms of Raman scattering, Raman spectroscopy in archaeology and art, advances in remote Raman sensing and industrial applications, and Raman optical activity of all classes of chiral molecules.
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