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10/15/2015
1
We will begin momentarily at 2pm ET
Slides available now! Recordings will be available to ACS members after one week.
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Alternative Careers: Chemistry and the Art Detective
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Broadcasts of ACS Webinars continue to be available to
Bruce E. Bursten, Provost and Senior Vice President, Worcester Polytechnic
Institute
Bill Carroll, Board of Directors, American Chemical Society
Thursday, October 29, 2015
“Pharmacokinetic Considerations in Drug Design
and Development”
Punit Marathe, Executive Director in the Metabolism and Pharmacokinetics
Department at Bristol-Myers Squibb
Shane Roller, Director of DMPK and Co-founder of Phoundry Pharmaceuticals,
Inc.
10/15/2015
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11 This ACS Webinar is being co-produced with National Chemistry Week
Slides available now! Recordings will be available to the public after one week
“The Material World of Color: Chemical Characterization of Pigments in Art”
Barbara Berrie Head of Scientific Research,
National Gallery of Art
Eric Breitung Senior Research Scientist,
Metropolitan Museum of Art
The Material World of Color: Chemical Characterization of Pigments in Art
Barbara Berrie, Head of Scientific Research
National Gallery of Art, Washington D.C.
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We’ll start with a few thoughts about what is color
Instrumental methods used to identify and characterize colorants and some examples
Unexpected discoveries about artists’ innovation and experimentation with colorants
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What is color? Color is the visual perceptual property corresponding in humans to the categories called red, green, blue, and others. Color derives from the spectrum of light (distribution of light power versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specification of color are also associated with objects, materials, lights sources, etc., based on their physical properties such as light absorption, reflection, or emission spectra. By defining a color space, colors can be identified numerically be their coordinates. wikipedia
Many fun facts about red pigments at https://storify.com/ngadc/seeingredchat
Mn+
Sn4+
Al3+
Cu2+
Cr3+
carminic acid
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Absorbance Spectra
Morales, Kathryn M. and Barbara H. Berrie. "A Note on Characterization of the Cochineal Dyestuff on Wool Using Microspectrophotometry." e-PreservationScience 12, (2015): 8-14. 26
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Some of the Analytical Methods Used to Identify Colorants in Works of Art
• chromatographic methods • mass spectrometry • optical microscopy (PLM) • scanning electron
microscopy with energy dispersive (or WDS) analysis
• infrared/Raman spectroscopy
• X-ray powder diffraction
• X-ray fluorescence analysis
• Raman spectroscopy
• multispectral imaging
– VIS-NIR-SWIR
– XRF mapping
Sample Required No Sample Required
For more information on any of the techniques go to: http://cameo.mfa.org/wiki/About_CAMEO 27
Art Object Analyzer US Patent 4178513, Dec 11, 1979
Handheld XRF 2014
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Energy levels of atomic orbitals
e-1 or X ray
Characteristic X ray
X Ray Fluorescence (and Energy Dispersive) X Ray Analysis
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Seaurat, Seascape, 1890 30
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Frédéric Bazille, The Ramparts at Aigues-Mortes, 1867
Texture is Given to the Surface using Calcareous Sand
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Vibrational Spectroscopy
Licensed under Public Domain via Commons - https://commons.wikimedia.org/wiki/File:Asymmetrical_stretching.gif#/media/File:Asymmetrical_stretching.gif
Trentelman, Karen.; Turner, Nancy.: J. Raman Spectr. 2009, 40, 577-584.
Micro-Raman spectrum reveals artist’s use of bismuth metal
Jean Bourdichon, Katherine Hours, 1480-1485
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Number 1, 1950 (Lavender Mist), 1950, Jackson Pollock. National Gallery of Art, Washington, D.C. Ailsa Mellon Bruce Fund.
Maestà (Madonna and Child with Four Angels), c.1290, Master of Città di Castello. National Gallery of Art, Washington, D.C. Samuel H. Kress Collection.
Fiber Optic Reflectance Spectroscopy
NIR Reflectance Spectroscopy
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Scanning electron microscopy/ energy dispersive X ray analysis
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Orazio Gentileschi The Lute Player, 1608
Pb
Sn/Sb
Roy, A., B. H. Berrie. 1998. A new lead-based yellow in the seventeenth century. In: Roy A., Smith P., editors. Painting Techniques: History, Materials and Studio Practice Contributions to the Dublin Congress 7-11 September 1998. Dublin: IIC, London. p 160-165.
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Vincent van Gogh Self-Portrait, 1889 August, 1889 St. Rémy F 626
Why is the picture of van Gogh’s Self Portrait purple?
Do you remember that I told you that we perceive color based on our reception of wavelengths of light in the so-called visible region of the electromagnetic spectrum? In comparison, the sensitivity of the chemical in color film that registers reds goes lower in energy than our eyes do. So, if there something that reflects in the close infrared spectrum the dye responds to it and creates a chemical we see as red.
Cobalt blue, CoAl2O4, the major pigment van Gogh used in the paint in the background of this painting does in fact reflect this near infrared radiation, sometimes called the photographic region; the dye in the film undergoes a chemical reaction and makes the red color. In combination with the chemical that makes blue, we see purple!
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Fiber–Optic Reflectance Spectra of Cobalt Blue in Various Binders
Spectral Dye Density Curves of Kodak Elite Film
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Br. 1990: 801 | CL: 604 From: Vincent van Gogh To: Theo van Gogh Date: Saint-Rémy-de-Provence, Thursday, 5 and Friday, 6 September 1889
Geldorf M, de Keijzer M, van Bommel M, Pilz K, Salvant J, van Keulen H et al. Van Gogh's Geranium Lake. In: Vellekoop M, Geldorf M, Hendricks E, Jansen L, De Tagle A, editors. Van Gogh's Studio Practice. Amsterdam: Van Gogh Museum; 2013. p. 268-89. 47
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lead white, chalk, barium sulfate
lead white, barium sulfate, yellow iron oxide, chalk
ultramarine, chrome yellow, emerald green, zinc white
BSE image of a scraping of the pink paint on the palette
phloxine?
lead salt of eosin?
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Pb
Al
Geldorf M, de Keijzer M, van Bommel M, Pilz K, Salvant J, van Keulen H et al. Van Gogh's Geranium Lake. In: Vellekoop M, Geldorf M, Hendricks E, Jansen L, De Tagle A, editors. Van Gogh's Studio Practice. Amsterdam: Van Gogh Museum; 2013. p. 268-89. 52
• Sgamellotti A, Brunetti BG, Miliani C. Science and Art: The Painted Surface. Royal Society Of Chemistry; 2014.
• Berrie BH. Rethinking the History of Artists' Pigments Through Chemical Analysis. Annual Review of Analytical Chemistry. 2012; 5: 441-59. http://www.annualreviews.org/doi/abs/10.1146/annurev-anchem-062011-143039
• Shugar AN, Mass JL. Handheld XRF for art and archaeology. Leuven University Press; 2012.
• Serrano A, van den Doel A, van Bommel M, Hallett J, Joosten I, van den Berg KJ. Investigation of crimson-dyed fibres for a new approach on the characterization of cochineal and kermes dyes in historical textiles. Analytica Chimica Acta. doi:http://dx.doi.org/10.1016/j.aca.2015.09.046.
Bruce E. Bursten, Provost and Senior Vice President, Worcester Polytechnic
Institute
Bill Carroll, Board of Directors, American Chemical Society
Thursday, October 29, 2015
“Pharmacokinetic Considerations in Drug Design
and Development”
Punit Marathe, Executive Director in the Metabolism and Pharmacokinetics
Department at Bristol-Myers Squibb
Shane Roller, Director of DMPK and Co-founder of Phoundry Pharmaceuticals,
Inc.
64 This ACS Webinar is being co-produced with National Chemistry Week
Slides available now! Recordings will be available to the public after one week
“The Material World of Color: Chemical Characterization of Pigments in Art”
Barbara Berrie Head of Scientific Research,
National Gallery of Art
Eric Breitung Senior Research Scientist,
Metropolitan Museum of Art
10/15/2015
33
Be a featured fan on an upcoming webinar! Write to us @ [email protected]
65
How has ACS Webinars benefited you?
®
“As a high school teacher, [Chemistry and the Art
Detective], provides more info to show students
how chemistry is used in real jobs. This webinar
was a great connection to the artists/art lovers in
the classroom.
Victoria Hornik-Rosinski,
Science Department,
Cabrini Highs School
66
facebook.com/acswebinars
@acswebinars
youtube.com/acswebinars
Search for “acswebinars” and connect!
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Benefits of ACS Membership
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