Raman spectroscopic library of natural and synthetic pigments (pre- ≈ 1850 AD)

1997 ◽  
Vol 53 (12) ◽  
pp. 2159-2179 ◽  
Author(s):  
Ian M. Bell ◽  
Robin J.H. Clark ◽  
Peter J. Gibbs
Keyword(s):  
Raman Spectroscopic ◽  
Synthetic Pigments ◽  
Natural And Synthetic

scholarly journals A mineralogical study of pigments used in two Iakovidis paintings: Verification of artwork authenticity using Raman micro-spectroscopy method.

2013 ◽  
Vol 47 (1) ◽  
pp. 392
Author(s):  
I. Kougemitrou ◽  
G. Economou ◽  
J. Giovanopoulos ◽  
I. Baziotis ◽  
G. Leontakianakos ◽  
...  
Keyword(s):  
Spectroscopic Analysis ◽  
Blue Pigment ◽  
Research Centre ◽  
Still Life ◽  
White Pigment ◽  
Raman Spectroscopic ◽  
Art Works ◽  
Mineralogical Study ◽  
Yellow Ochre ◽  
Synthetic Pigments

For the purpose of the current study, we examined two paintings, an original and a fake one, entitled “Still life with grapes”, and claimed both to be created from the Greek Painter G. Iakovidis. The current Research Project has been carried out at the Centre Nikias, an innovative Research Centre specialised on certification, maintenance and restoration of art works. Raman spectroscopic analysis has been carried to verify the authenticity of the used pigments and also the originality of the two paintings. The Raman spectra acquired confirmed four different colours in both painting`s pigments: red, blue, white and yellow. For the first painting Cinnabar for the red pigment, Ultramarine for the blue pigment, White earths for the white pigment and Yellow ochre for the yellow pigment. In the second painting the colours used verified as synthetic pigments. We identified the presence of Cadmium red for the red colour, Cobalt blue for the blue pigment, Zinc white for the white and Cadmium yellow for the yellow one.

Raman spectroscopic study of natural and synthetic brannerite

2013 ◽  
Vol 437 (1-3) ◽  
pp. 149-153 ◽  
Author(s):  
Yingjie Zhang ◽  
Inna Karatchevtseva ◽  
Mengjun Qin ◽  
Simon C. Middleburgh ◽  
Gregory R. Lumpkin
Keyword(s):  
Spectroscopic Study ◽  
Raman Spectroscopic ◽  
Raman Spectroscopic Study ◽  
Natural And Synthetic

scholarly journals Raman spectroscopic analysis of a ‘ noli me tangere ’ painting

2016 ◽  
Vol 374 (2082) ◽  
pp. 20160044 ◽  
Author(s):  
Stephen Hibberts ◽  
Howell G. M. Edwards ◽  
Mona Abdel-Ghani ◽  
Peter Vandenabeele
Keyword(s):  
Fifteenth Century ◽  
Spectroscopic Analysis ◽  
Microscopic Analysis ◽  
Rural Landscape ◽  
Oil Painting ◽  
Raman Spectroscopic ◽  
Red Lead ◽  
Late Fifteenth ◽  
Synthetic Pigments ◽  
Raman Spectroscopic Analysis

The discovery of an oil painting in seriously damaged condition with an important historical and a heterodox detail with possible origins in the late fifteenth century has afforded the opportunity for Raman microscopic analysis prior to its restoration being undertaken. The painting depicts a risen Christ following His crucifixion in a ‘ noli me tangere ’ pose with three women in an Italian terrace garden with a stone balustrade overlooking a rural landscape and an undoubted view of late-medieval Florence. The picture has suffered much abuse and is in very poor condition, which is possibly attributable to its controversial portrayal of a polydactylic Christ with six toes on His right foot. By the late sixteenth century, after the Council of Trent, this portrayal would almost certainly have been frowned upon by the Church authorities or more controversially as a depiction of the holy. Raman spectroscopic analysis of the pigments places the painting as being consistent chronologically with the Renaissance period following the identification of cinnabar, haematite, red lead, lead white, goethite, verdigris, caput mortuum and azurite with no evidence of more modern synthetic pigments or of modern restoration having been carried out. An interesting pigment mixture found here is that of the organic dye carmine and cinnabar to produce a particular bright red pigment coloration. Stratigraphic examination of the paint fragments has demonstrated the presence of an orange resin layer immediately on top of the canvas substrate, effectively rendering the pigment as a sandwich between this substratal resin and the overlying varnish. The Raman spectroscopic evidence clearly indicates that an attribution of the artwork to the Renaissance is consistent with the scientific analysis of the pigment composition. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.

scholarly journals Feasibility of Micellar Surface Charge Decoration of Graphene Oxide with Surfactants and Oils as Adsorbents for Natural and Synthetic Pigments (A Review)

2018 ◽  
Vol 34 (3) ◽  
pp. 1198-1212
Author(s):  
Chinawooth Sakaew ◽  
Prawit Nuengmatcha ◽  
Phitchan Sricharoen ◽  
Nunticha Limchoowong ◽  
Saksit Chanthai
Keyword(s):  
Graphene Oxide ◽  
Surface Charge ◽  
Synthetic Pigments ◽  
Natural And Synthetic

scholarly journals Skin pigmentation evaluation in broilers fed natural and synthetic pigments

2005 ◽  
Vol 84 (1) ◽  
pp. 143-147 ◽  
Author(s):  
M.P. Castaneda ◽  
E.M. Hirschler ◽  
A.R. Sams
Keyword(s):  
Skin Pigmentation ◽  
Synthetic Pigments ◽  
Natural And Synthetic

ChemInform Abstract: Anthocyanin Chemical Synthesis: An Important Access to Natural and Synthetic Pigments

ChemInform ◽  
2010 ◽  
Vol 28 (29) ◽  
pp. no-no
Author(s):  
M. ELHABIRI ◽  
P. FIGUEIREDO ◽  
A. FOUGEROUSSE ◽  
O. DANGLES ◽  
R. BROUILLARD
Keyword(s):  
Chemical Synthesis ◽  
Synthetic Pigments ◽  
Natural And Synthetic

Semi-synthesis as a tool for broadening the health applications of bioactive olive secoiridoids: a critical review

2021 ◽  
Author(s):  
Manuela Oliverio ◽  
Monica Nardi ◽  
Maria Luisa Di Gioia ◽  
Paola Costanzo ◽  
Sonia Bonacci ◽  
...  
Keyword(s):  
Critical Review ◽  
Natural Compounds ◽  
Effective Strategy ◽  
Synthetic Analogues ◽  
Health Applications ◽  
Natural And Synthetic

Semi-synthesis is an effective strategy to obtain both natural and synthetic analogues of the olive secoiridoids, starting from easy accessible natural compounds.

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