Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius

The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by...

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Veröffentlicht in:	Heritage science Jg. 7; H. 1; S. 1 - 12
Hauptverfasser:	Simoen, Jonas, De Meyer, Steven, Vanmeert, Frederik, de Keyser, Nouchka, Avranovich, Ermanno, Van der Snickt, Geert, Van Loon, Annelies, Keune, Katrien, Janssens, Koen
Format:	Journal Article
Sprache:	Englisch
Veröffentlicht:	Cham Springer International Publishing 01.12.2019 Springer Nature B.V SpringerOpen
Schlagworte:	17th century 5th International Congress on Chemistry for Cultural Heritage Arsenates Arsenic trisulfide Arsenic-based pigments Artists Chemistry and Materials Science Degradation Inspection Light diffraction Mapping Materials Science Minerals Non-invasive imaging Organic chemistry Oxidation Pigments Research Article Still life painting Valence X ray powder diffraction Degradation Paintings Non-invasive imaging Arsenic-based pigments X-ray powder diffraction
ISSN:	2050-7445, 2050-7445
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Abstract	The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As 2 S 3 ) or realgar (α-As 4 S 4 ) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (μ-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO 4 ), mimetite (Pb 5 (AsO 4 ) 3 Cl), palmierite (K 2 Pb(SO 4 ) 2 ) and syngenite (K 2 Ca(SO 4 ) 2 ∙H 2 O) have formed. Closer inspection of the cross-sectioned paint layer stack with μ-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.
AbstractList	The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As 2 S 3 ) or realgar (α-As 4 S 4 ) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (μ-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO 4 ), mimetite (Pb 5 (AsO 4 ) 3 Cl), palmierite (K 2 Pb(SO 4 ) 2 ) and syngenite (K 2 Ca(SO 4 ) 2 ∙H 2 O) have formed. Closer inspection of the cross-sectioned paint layer stack with μ-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting. The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As2S3) or realgar (α-As4S4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (μ-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO4), mimetite (Pb5(AsO4)3Cl), palmierite (K2Pb(SO4)2) and syngenite (K2Ca(SO4)2∙H2O) have formed. Closer inspection of the cross-sectioned paint layer stack with μ-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting. Abstract The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As2S3) or realgar (α-As4S4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (μ-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO4), mimetite (Pb5(AsO4)3Cl), palmierite (K2Pb(SO4)2) and syngenite (K2Ca(SO4)2∙H2O) have formed. Closer inspection of the cross-sectioned paint layer stack with μ-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.
ArticleNumber	83
Author	Simoen, Jonas Van der Snickt, Geert Van Loon, Annelies de Keyser, Nouchka Keune, Katrien De Meyer, Steven Vanmeert, Frederik Janssens, Koen Avranovich, Ermanno
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Snippet	The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are... Abstract The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while...
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SubjectTerms	17th century 5th International Congress on Chemistry for Cultural Heritage Arsenates Arsenic trisulfide Arsenic-based pigments Artists Chemistry and Materials Science Degradation Inspection Light diffraction Mapping Materials Science Minerals Non-invasive imaging Organic chemistry Oxidation Pigments Research Article Still life painting Valence X ray powder diffraction
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Title	Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius
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