early viridian pigment composition found in pigment

1
Abstract Pigment analyses on more than 90 paintings dating between 1885 and 1943 have revealed that the majo- rity of samples with viridian contain a spectroscopically con- spicuous by-product. This has been observed in paintings by Van Gogh, Jawlensky, Kandinsky, Hodler, Amiet and Klee, as well as in samples from different historic color swatch tables. With the aim of tracking down the origin of this com- ponent, the so-called Guignet green, a variation of viridian produced by calcination, was systematically synthesised under varying conditions. The resulting products were cha- racterised with different analytical methods. The pigment composition was identified as an amorphous chromium oxide borate Cr2O3·(xH2O)-Cr3BO6-polymorph with variable ratios of its components. Early viridian pigment composition found in paintings by Van Gogh and contemporary artists Chemical and morphological characterisation of a vitreous (hydrated) chromium oxide borate pigment <600°C >700°C Potassium dichromate + boric acid 1:3 Heating Rinsing Chromium oxide Boron oxide matrix Boron oxide matrix Chromium oxide Insoluble borates Chromium oxide Insoluble borates Chromium oxide Chemisorbed water Incorporated water Chromium oxide borate Viridian 1063 792 1288 1252 cm-1 H 2 O H 2 O Educts Calcining products Pigments FTIR spectra Introduction The characterisation of Guignet green is of interest because of its widespread use in the late 19th and early 20th century. In contrast to modern viridian, earlier products are often associated with a process related by- product. To reproduce this type of pigment, syn- thesis was run under variable conditions (T and t), according to historic recipes. Methods The resulting intermediate and final products were characterised applying Fourier transform infrared spectroscopy (FTIR), Raman spectroscopy, electron microscopy (SEM-SE and SEM-BSE), electron probe micro analysis (EPMA), X-ray diffraction (XRD), thermogravimet- ric analysis (TGA), polarised light microscopy (PLM) and colorimetry. Pigment synthesis The results show, that the composition and morphology of the final pro- ducts strongly depend on the maximum tempe- rature reached in the range from 550-750°C (Fig. 1). Furthermore, the duration of calcination directly influences yields and ratios of the reacti- on products and consequently the color of the final product. At temperatures ≥ 650°C insolub- le boron by-products are formed which remain in the final pigment product. Insoluble chromium borate develops as a matrix, enclosing particles of chromium oxide (Fig. 2). This reduces the uptake of water during the rinsing procedure and leads to variable proportions in the final pigment product (ratio of Cr2O3:H2O:Cr3BO6). Thus, Gu- ignet green is not a pure chromium oxide hydra- te. In extremis, the borate content may comple- tely inhibit access to the chromium oxide nuclei and prevent their hydration to chromium oxide hydrate. The resulting pigment can be characte- rised as a low water-containing amorphous chromium oxide borate Cr2O3·(xH2O)-Cr3BO6- polymorph. It can easily be identified applying FTIR, based on two very strong and sharp sig- nals at 1288 and 1252 cm -1 (Fig. 3). Findings in paint sample analysis Coarse chromium borate oxide pigment particles were found in a painting by Van Gogh (Fig. 4). As it is associated with the manufacturing process, the documentation of the presence of the borate component in green samples can be extremely insightful. Studying the pigment composition of well dated paint samples may give quite specific answers to ancient pigment production. We have observed that calcination conditions in the past were highly variable. The current dataset is such that the use of paint from a specific pro- duction batch can be resolved in time, based on analyses of more than 60 samples taken from re- ference paintings of Jawlensky. Within the Ja- wlensky project this pigment information, in combination with other analytical and historical data, is being exploited for the authentication and dating of paintings. Fig. 2 Schematic diagram of the pigment formation process 2000 1600 1200 800 cm-1 1288 1252 1063 792 696, 679 Jawlensky Project Alexej von Jawlensky (1864-1941) was a member of the „Neue Künstler- vereinigung München“, the „Blue Rider“ and the „Blue Four“. Since 2002 an independent and interdisciplinary Scientific Advisory Com- mittee supports the Jawlensky Archive S.A. Locarno, Switzerland, to com- plete the Jawlensky Catalogue raisonné. So far, the data of 104 paintings has been collected of which over 60 have been specifically sampled with respect to Guignet green. A nearly water free chromium oxide borate was found in a green paint sample of the painting „Les meules de blé“ (F. 809) by Vincent Van Gogh from 1890, painted in Auvers-sur-Oise. Of particular interest is the large size of the pig- ment particles (Fig. 4), which corresponds to the observation made with the products syn- thesised at high temperatures (Figs. 1-3). Vincent Van Gogh, „Les meules de blé“, 1890, ca. 50x100cm, located at the Fondation Beyeler, Rie- hen/Basel, Switzerland Fig. 1 Pigment morphology: increased cluster formation with rising calcination temperatures (SEM-SE) Fig. 3 Transmission FTIR-spectra series of the pigment products at different T°C and variable calcination times t Fig. 4 Van Gogh „Les meules de blé“ 1890: Detailed view of coarse pigment (left) and FTIR spectrum identifying the green pigment as a Guignet green with a high chromium borate content (right) Acknowledgements K. Beltinger, Swiss Institute for Art Research (SIK-ISEA), Zürich CH W. Müller, H. Schmincke & Co. GmbH & Co. KG, Erkrath D K. J. Van den Berg, M. Geldof, S. de Groot, Instituut Collectie Nederland, Amsterdam NL A. Bianconi Jawlensky, Alexej von Jawlensky Archiv S.A., Locarno CH Fondation Beyeler, Riehen/Basel CH 4000 3000 2000 1500 1000 580 1252 vs 1288 vs 1364 m 1063 s 792 s 550°C 600 650 700 750 4000 3000 2000 1500 1000 cm-1 1252 vs 1288 vs 1364 m 1063 s 792 s 600°C 0.5h 1h 3h 700°C 0.5h 1h 3h Products (different T°C / 0.5h) Products (different t at 600, 700°C) Chromium oxide hydrate Chromium borate Eu-ARTECH Access, Research and Technology for the conservation of the European Cultural Heritage Symposium on Van Gogh and Contemporaries 14 - 15 May 2009, Amsterdam, NL 750°C 650°C 550°C 50μm Publication Zumbuehl, S., Scherrer, N.C., Berger, A. and Eggenberger, U. (2009). Early Viridian pigment composition characterization of a (hydrated) chromium oxide borate pigment. Studies in Conservation 54 (3) 149-159. http://www.jstor.org/stable/27867083 S. Zumbühl, N.C. Scherrer Bern University of Applied Sciences, Art Technological Laboratory U. Eggenberger University of Bern, Institute of Geological Sciences A. Berger University of Copenhagen, Institute for Geography and Geology M. Gross Fondation Beyeler, Riehen/Basel E.S.B. Ferreira Swiss Institute for Art Research SIK-ISEA, Zürich

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Page 1: Early viridian pigment composition found in Pigment

Abstract Pigment analyses on more than 90 paintings dating between 1885 and 1943 have revealed that the majo-rity of samples with viridian contain a spectroscopically con-spicuous by-product. This has been observed in paintings by Van Gogh, Jawlensky, Kandinsky, Hodler, Amiet and Klee, as well as in samples from different historic color swatch tables. With the aim of tracking down the origin of this com-ponent, the so-called Guignet green, a variation of viridian produced by calcination, was systematically synthesised under varying conditions. The resulting products were cha-racterised with different analytical methods. The pigment composition was identified as an amorphous chromium oxide borate Cr2O3·(xH2O)-Cr3BO6-polymorph with variable ratios of its components.

Early viridian pigment composition found in paintings by Van Gogh and contemporary artistsChemical and morphological characterisation of a vitreous (hydrated) chromium oxide borate pigment

<600°C

>700°C

Po

tass

ium

dic

hro

mat

e +

bo

ric

acid

1:3

Heating Rinsing

Chromium oxideBoron oxide matrix

Boron oxide matrix

Chromium oxideInsoluble borates Chromium oxide

Insoluble borates

Chromium oxideChemisorbed waterIncorporated water

Ch

rom

ium

oxi

de

bo

rate

Vir

idia

n

1063

792

1288

1252

cm-1

H2O

H2O

Educts Calcining products Pigments FTIR spectra

Introduction The characterisation of Guignet green is of interest because of its widespread use in the late 19th and early 20th century. In contrast to modern viridian, earlier products are often associated with a process related by-product. To reproduce this type of pigment, syn-thesis was run under variable conditions (T and t), according to historic recipes.

Methods The resulting intermediate and final products were characterised applying Fourier transform infrared spectroscopy (FTIR), Raman spectroscopy, electron microscopy (SEM-SE and SEM-BSE), electron probe micro analysis (EPMA), X-ray diffraction (XRD), thermogravimet-ric analysis (TGA), polarised light microscopy (PLM) and colorimetry.

Pigment synthesis The results show, that the composition and morphology of the final pro-ducts strongly depend on the maximum tempe-rature reached in the range from 550-750°C (Fig. 1). Furthermore, the duration of calcination directly influences yields and ratios of the reacti-on products and consequently the color of the final product. At temperatures ≥ 650°C insolub-le boron by-products are formed which remain in the final pigment product. Insoluble chromium borate develops as a matrix, enclosing particles of chromium oxide (Fig. 2). This reduces the uptake of water during the rinsing procedure and leads to variable proportions in the final pigment

product (ratio of Cr2O3:H2O:Cr3BO6). Thus, Gu-ignet green is not a pure chromium oxide hydra-te. In extremis, the borate content may comple-tely inhibit access to the chromium oxide nuclei and prevent their hydration to chromium oxide hydrate. The resulting pigment can be characte-rised as a low water-containing amorphous chromium oxide borate Cr2O3·(xH2O)-Cr3BO6-polymorph. It can easily be identified applying FTIR, based on two very strong and sharp sig-nals at 1288 and 1252 cm-1 (Fig. 3).

Findings in paint sample analysis Coarse chromium borate oxide pigment particles were found in a painting by Van Gogh (Fig. 4). As it is associated with the manufacturing process, the documentation of the presence of the borate component in green samples can be extremely insightful. Studying the pigment composition of well dated paint samples may give quite specific answers to ancient pigment production. We have observed that calcination conditions in the past were highly variable. The current dataset is such that the use of paint from a specific pro-duction batch can be resolved in time, based on analyses of more than 60 samples taken from re-ference paintings of Jawlensky. Within the Ja-wlensky project this pigment information, in combination with other analytical and historical data, is being exploited for the authentication and dating of paintings.

Fig. 2 Schematic diagram of the pigment formation process

2000 1600 1200 800 cm-1

1288

1252

1063

792

696,

679

Jawlensky ProjectAlexej von Jawlensky (1864-1941) was a member of the „Neue Künstler-vereinigung München“, the „Blue Rider“ and the „Blue Four“.

Since 2002 an independent and interdisciplinary Scientific Advisory Com-mittee supports the Jawlensky Archive S.A. Locarno, Switzerland, to com-plete the Jawlensky Catalogue raisonné. So far, the data of 104 paintings has been collected of which over 60 have been specifically sampled with respect to Guignet green.

A nearly water free chromium oxide borate was found in a green paint sample of the painting „Les meules de blé“ (F. 809) by Vincent Van Gogh from 1890, painted in Auvers-sur-Oise. Of particular interest is the large size of the pig-ment particles (Fig. 4), which corresponds to the observation made with the products syn-thesised at high temperatures (Figs. 1-3).

Vincent Van Gogh, „Les meules de blé“, 1890, ca. 50x100cm, located at the Fondation Beyeler, Rie-hen/Basel, Switzerland

Fig. 1 Pigment morphology: increased cluster formation with rising calcination temperatures (SEM-SE)

Fig. 3 Transmission FTIR-spectra series of the pigment products at different T°C and variable calcination times t

Fig. 4 Van Gogh „Les meules de blé“ 1890: Detailed view of coarse pigment (left) and FTIR spectrum identifying the green pigment as a Guignet green with a high chromium borate content (right)

AcknowledgementsK. Beltinger, Swiss Institute for Art Research (SIK-ISEA), Zürich CHW. Müller, H. Schmincke & Co. GmbH & Co. KG, Erkrath D K. J. Van den Berg, M. Geldof, S. de Groot, Instituut Collectie Nederland, Amsterdam NLA. Bianconi Jawlensky, Alexej von Jawlensky Archiv S.A., Locarno CHFondation Beyeler, Riehen/Basel CH

4000 3000 2000 1500 1000 580

1252

vs

1288

vs

1364

m

1063

s

792

s

550°C

600

650

700

750

4000 3000 2000 1500 1000 cm-1

1252

vs

1288

vs

1364

m

1063

s

792

s

600°C 0.5h

1h

3h

700°C 0.5h

1h

3h

Products (different T°C / 0.5h) Products (different t at 600, 700°C)

Chromium oxide hydrate

Chromium borate

Eu-ARTECHAccess, Research and Technology for the conservationof the European Cultural Heritage

Symposium on Van Gogh and Contemporaries 14 - 15 May 2009, Amsterdam, NL

750°C650°C550°C

50µm

PublicationZumbuehl, S., Scherrer, N.C., Berger, A. and Eggenberger, U. (2009). Early Viridian pigment composition characterization of a (hydrated) chromium oxide borate pigment. Studies in Conservation 54 (3) 149-159.http://www.jstor.org/stable/27867083

S. Zumbühl, N.C. Scherrer Bern University of Applied Sciences, Art Technological Laboratory

U. Eggenberger University of Bern, Institute of Geological Sciences

A. Berger University of Copenhagen, Institute for Geography and Geology

M. Gross Fondation Beyeler, Riehen/Basel

E.S.B. Ferreira Swiss Institute for Art Research SIK-ISEA, Zürich