作者: Alba Álvarez-Martín , Stefanie De Winter , Gert Nuyts , Joen Hermans , Koen Janssens
DOI: 10.1016/J.MICROC.2020.105340
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摘要: Abstract Almost seventy years after artists such as Frank Stella (1936), Andy Warhol (1928–1987), James Rosenquist (1933–2017), Herb Aach (1923–1985) and Richard Bowman (1918–2001) started to incorporate Daylight Fluorescent Pigments (DFPs) in their artworks, the extent of conservation problems that are associated with these pigments has increased progressively. Since first appearance on market, composition constantly been improved terms permanency. However, practices artworks used in, complicated by fact DFPs is proprietary information provided manufactures limited. To be able propose adequate strategies for containing DFPs, a thorough understanding must acquired. In contrast previous research concentrated identification coloring dye, this paper focuses characterization resin, carrier dye. The proposed approach, involving ATR-FTIR, SPME-GC-MS XRF analysis, additional insights organic inorganic components resin. Using we investigated historical new formulations, well different series from main manufacturing companies (DayGlo, Swada, Radiant Color Kremer) order obtain full along years. First, initial PCA-assisted ATR-FTIR spectroscopy allowed an efficient classification monomers resin polymer. Next, further distinction was made mass spectrometry which were optimized allow more specific detection additives. show potential SPME-GC-MS, never applied artistic materials, at present undervalued heritage science purposes. We anticipate will highly relevant future stability studies defining (preventive) fluorescent artworks.