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Altered Blue and Red Paints
Altered Blue and Red paints Investigations of Old Man in Warnemünde and The Drowned Boy by Edvard Munch (1863–1944) Jin Strand Ferrer MA DISSERTATION Project-based Master’s Degree in Conservation Department of Archaeology, Conservation and History UNIVERSITY OF OSLO Spring 2019 I Copyright Jin Strand Ferrer 2019 Altered Blue and Red paints: Investigations of Old Man in Warnemünde and The Drowned Boy by Edvard Munch (1863–1944) Jin Strand Ferrer http://www.duo.uio.no Print: Reprosentralen, University of Oslo II Table of contents 1 Introduction ...................................................................................................................... 5 1.1 Background .......................................................................................................................... 5 1.1.1 Edvard Munch and Warnemünde (1907–1908) ................................................................ 6 1.2 Objectives and research questions ................................................................................... 10 1.2.1 Dissertation structure ...................................................................................................... 11 2 Paint manufacture: cobalt blue, synthetic ultramarine, and red lake paints .......... 13 2.1 Paint manufacture ............................................................................................................. 14 2.2 Additives and extenders .................................................................................................... 14 2.3 Binding media: -
Natural Colourants with Ancient Concept and Probable Uses
JOURNAL OF ADVANCED BOTANY AND ZOOLOGY Journal homepage: http://scienceq.org/Journals/JABZ.php Review Open Access Natural Colourants With Ancient Concept and Probable Uses Tabassum Khair1, Sujoy Bhusan2, Koushik Choudhury2, Ratna Choudhury3, Manabendra Debnath4 and Biplab De2* 1 Department of Pharmaceutical Sciences, Assam University, Silchar, Assam, India. 2 Regional Institute of Pharmaceutical Science And Technology, Abhoynagar, Agartala, Tripura, India. 3 Rajnagar H. S. School, Agartala, Tripura, India. 4 Department of Human Physiology, Swami Vivekananda Mahavidyalaya, Mohanpur, Tripura, India. *Corresponding author: Biplab De, E-mail: [email protected] Received: February 20, 2017, Accepted: April 15, 2017, Published: April 15, 2017. ABSTRACT: The majority of natural colourants are of vegetable origin from plant sources –roots, berries, barks, leaves, wood and other organic sources such as fungi and lichens. In the medicinal and food products apart from active constituents there are several other ingredients present which are used for either ethical or technical reasons. Colouring agent is one of them, known as excipients. The discovery of man-made synthetic dye in the mid-19th century triggered a long decline in the large-scale market for natural dyes as practiced by the villagers and tribes. The continuous use of synthetic colours in textile and food industry has been found to be detrimental to human health, also leading to environmental degradation. Biocolours are extracted by the villagers and certain tribes from natural herbs, plants as leaves, fruits (rind or seeds), flowers (petals, stamens), bark or roots, minerals such as prussian blue, red ochre & ultramarine blue and are also of insect origin such as lac, cochineal and kermes. -
Oral Presentations
ORAL PRESENTATIONS Listed in programme order Technical analysis of archaeological Andean painted textiles Rebecca Summerour1*, Jennifer Giaccai2, Keats Webb3, Chika Mori2, Nicole Little3 1National Museum of the American Indian, Smithsonian Institution (NMAI) 2Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution (FSG) 3Museum Conservation Institute, Smithsonian Institution (MCI) 1*[email protected] This project investigates materials and manufacturing techniques used to create twenty-one archaeological painted Andean textiles in the collection of the National Museum of the American Indian, Smithsonian Institution (NMAI). The textiles are attributed to Peru but have minimal provenience. Research and consultations with Andean textile scholars helped identify the cultural attributions for most of the textiles as Chancay and Chimu Capac or Ancón. Characterization of the colorants in these textiles is revealing previously undocumented materials and artistic processes used by ancient Andean textile artists. The project is conducted as part of an Andrew W. Mellon Postgraduate Fellowship in Textile Conservation at the NMAI. The textiles in the study are plain-woven cotton fabrics with colorants applied to one side. The colorants, which include pinks, reds, oranges, browns, blues, and black, appear to be paints that were applied in a paste form, distinguishing them from immersion dyes. The paints are embedded in the fibers on one side of the fabrics and most appear matte, suggesting they contain minimal or no binder. Some of the brown colors, most prominent as outlines in the Chancay-style fragments, appear thick and shiny in some areas. It is possible that these lines are a resist material used to prevent colorants from bleeding into adjacent design elements. -
Reviewanthraquinones, the Dr Jekyll and Mr Hyde of the Food Pigment
Food Research International 65 (2014) 132–136 Contents lists available at ScienceDirect Food Research International journal homepage: www.elsevier.com/locate/foodres Review Anthraquinones, the Dr Jekyll and Mr Hyde of the food pigment family Laurent Dufossé ⁎ Laboratoire de Chimie des Substances Naturelles et des Sciences des Aliments, Université de La Réunion, ESIROI Agroalimentaire, Parc Technologique, 2 rue Joseph Wetzell, F-97490 Sainte-Clotilde, Ile de La Réunion, France article info abstract Article history: Anthraquinones constitute the largest group of quinoid pigments with about 700 compounds described. Their Received 28 January 2014 role as food colorants is strongly discussed in the industry and among scientists, due to the 9,10-anthracenedione Received in revised form 9 September 2014 structure, which is a good candidate for DNA interaction, with subsequent positive and/or negative effect(s). Accepted 18 September 2014 Benefits (Dr Jekyll) and inconveniences (Mr Hyde) of three anthraquinones from a plant (madder color), an Available online 28 September 2014 insect (cochineal extract) and filamentous fungi (Arpink Red) are presented in this review. For example excellent Keywords: stability in food formulation and variety of hues are opposed to allergenicity and carcinogenicity. All the anthra- Anthraquinone quinone molecules are not biologically active and research effort is requested for this strange group of food Color pigments. Pigment © 2014 Elsevier Ltd. All rights reserved. Madder Carmine Filamentous fungi Contents 1. Introduction............................................................. -
Mannequin Moulage
Mannequin Moulage by Barry Robinson Page 7- 7.0 Mannequin Moulage First, a few general comments about mannequin moulage. This chapter is for mannequin's only. For moulage techniques that can be used on people see my Casualty Simulation Techniques Guide. Stay away from cheap Halloween prosthetics; these may contain plasticizers and dyes that can migrate into the mannequin's skin causing permanent discolouration. Unknown or off-brand makeup may contain dyes which will stain. Cheap makeup is usually not very cost effective either since the pigment level is very low (professional makeup often has a pigment level approaching 50%) Always test makeup on a small, hidden area on the mannequin to be sure that it will not stain the skin. Be aware that most mannequins are made from more than one type of plastic; what might not stain one type of plastic may stain another type. Soft plastics seem to be more susceptible to staining than hard plastics. Before beginning mannequin moulage make sure that any surface dirt, oil, or adhesive has been removed. For Laerdal and Life/form® mannequins, I have found that Goo Gone® gel cleaner does a good job. Before you clean a mannequin always read the directions that came with the mannequin. Check with the manufacturer before using any cleaner since some mannequins need a specific cleaner. Gaumard HAL mannequins, for example, should not be cleaned with Goo Gone® or similar cleaners. Some cleaners contain solvents which can soften, deform, or even dissolve a mannequin's skin. Sometimes mannequins, especially older ones, can develop a sticky or oily surface from plasticizers used in the manufacturing of plastics. -
Preparation and Characterization of Lake Pigments from Sappan Wood Using Thai Local Clays
Journal of Metals, Materials and Minerals, Vol. 30, No. 1, pp. 20-28, 2020 Preparation and characterization of lake pigments from sappan wood using Thai local clays Jitnapa SIRIRAK, Nattawan WORAWANNOTAI, Cheewita SUWANCHAWALIT, and Supanee CHAYABUTRA* Department of Chemistry, Faculty of Science, Silpakorn University, Nakhon Pathom, 73000, Thailand *Corresponding author e-mail: [email protected] Received date: Abstract 27 June 2019 Revised date: Thai local clays: Munpoo clay (MC) and Dindang clay (DC) were utilized as the 8 October 2019 adsorbents for preparation of the lake pigments from sappan wood. The lake pigment Accepted date: which was prepared by using MC as the adsorbent (L-MC) appeared reddish-brown 14 October 2019 while a deeper reddish-brown color of the lake pigment (L-DC) was obtained by using DC as the adsorbent. Characterization of MC, DC, L-MC, and L-DC was accomplished by XRD, SEM, FT-IR, BET, TGA and UV-Vis DRS. The effects of Keywords: Natural clay adsorbent dosage, pH of sappan wood extract and time on the adsorption were also Brazilein investigated. The results revealed that silicon oxide and aluminium silicate hydroxide Sappan wood were identified as the main component of MC and DC. L-MC and L-DC exhibited Lake pigments similar XRD pattern compared to MC and DC but with the lower crystallinities. Adsorbent Brazilein from sappan wood could not only form complexes with Al and Si on the surface of the clays but also interact with clay surface via electrostatic interactions, which led to the reddish-brown color of L-MC and L-DC. -
The Wonderful World of Colour Cast Cpd 2014
THE WONDERFUL WORLD OF COLOUR CAST CPD 2014 “Your attitude is like a box of crayons that colour your world. Constantly colour your picture grey, and your picture will always be bleak. Try adding some bright colours to the picture by including humor, and your picture begins to lighten up.” Allen Klein CONTENTS COLOUR IN ART COLOUR IN SCIENCE HISTORY OF COLOUR & PIGMENTS SYMBOLISM OF COLOUR LANGUAGE OF COLOUR COLOUR IN FASHION COLOUR IN PRODUCT DESIGN NAMES OF COLOURS COLOUR IN ART COLOUR IN SCIENCE HISTORY OF COLOUR & PIGMENTS RANDOM FACTS! • Holy cow! The original Indian Yellow was made from the soiled earth of mango leaf-fed cattle in the Mon- ghyr region of India. The earth was dried, powdered, purified, and then pressed into lumps. Because of the poor health of the mango-fed cattle, the Indian government banned production of the pigment in the early 20th century. • The colour to die for - Emerald Green was originally made from arsenic, a deadly poison. • Who ever discovered Tyrian Purple?! It was made from the bodies of whelks- 12,000 whelks were needed to make 1.5 grams of pigment. A pricey purchase indeed. • The white stuff- Some of the first whites were made from animal bones that had been incinerated produc- ing a grey white ash. • A porky tale - Before metal tubes, oil paints used to be stored in bags made from pigs’ bladders. • Beetles about - Crimson was made from dried and crushed cochineal beetles. • A trip to the loo - Gamboge is a yellow made from the resin of trees in the Cambodian forests. -
Optimizing Silver Nanoparticles for Pigment Identification in Art
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2019 Optimizing Silver Nanoparticles for Pigment Identification in Art Carolyn Farling Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Chemistry Commons Recommended Citation Farling, Carolyn, "Optimizing Silver Nanoparticles for Pigment Identification in Art" (2019). Undergraduate Honors Theses. Paper 1328. https://scholarworks.wm.edu/honorstheses/1328 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Abstract Surface-enhanced Raman spectroscopy (SERS) is a powerful tool for the identification of organic colorants within art samples. The SERS substrate that is widely used, a colloidal suspension of silver nanoparticles (AgNPs), does not always provide reproducible spectral results even when the same procedure is followed within the same laboratory conditions. An investigation to find a metric that can classify each new batch of AgNPs as optimal or suboptimal for application onto a precious art sample are discussed. Next, a quality assurance protocol for SERS-based identification of organic pigments in art is presented. Lastly, pretreatment extraction techniques for sample intervention prior to the application of AgNPs are illustrated. i TABLE OF CONTENTS Chapter 1. Introduction………………………………………………………………………... 1 1.1 A Brief Background of Raman Spectroscopy………………………………………………... 2 1.2 Surface-enhanced Raman Spectroscopy (SERS) Theory……………………………………. 4 Chapter 2. Initial Observations and Revision of Synthesis Protocols……………………….. 7 2.1 Lee and Meisel Method……………………………………………………………………… 7 2.2 The Call for Investigation: The Curious White Batch………………………………………. -
Anthraquinones Mireille Fouillaud, Yanis Caro, Mekala Venkatachalam, Isabelle Grondin, Laurent Dufossé
Anthraquinones Mireille Fouillaud, Yanis Caro, Mekala Venkatachalam, Isabelle Grondin, Laurent Dufossé To cite this version: Mireille Fouillaud, Yanis Caro, Mekala Venkatachalam, Isabelle Grondin, Laurent Dufossé. An- thraquinones. Leo M. L. Nollet; Janet Alejandra Gutiérrez-Uribe. Phenolic Compounds in Food Characterization and Analysis , CRC Press, pp.130-170, 2018, 978-1-4987-2296-4. hal-01657104 HAL Id: hal-01657104 https://hal.univ-reunion.fr/hal-01657104 Submitted on 6 Dec 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Anthraquinones Mireille Fouillaud, Yanis Caro, Mekala Venkatachalam, Isabelle Grondin, and Laurent Dufossé CONTENTS 9.1 Introduction 9.2 Anthraquinones’ Main Structures 9.2.1 Emodin- and Alizarin-Type Pigments 9.3 Anthraquinones Naturally Occurring in Foods 9.3.1 Anthraquinones in Edible Plants 9.3.1.1 Rheum sp. (Polygonaceae) 9.3.1.2 Aloe spp. (Liliaceae or Xanthorrhoeaceae) 9.3.1.3 Morinda sp. (Rubiaceae) 9.3.1.4 Cassia sp. (Fabaceae) 9.3.1.5 Other Edible Vegetables 9.3.2 Microbial Consortia Producing Anthraquinones, -
Uv-Vis-Nir Reflectance Spectroscopy of Red Lakes in Paintings
9th International Conference on NDT of Art, Jerusalem Israel, 25-30 May 2008 For more papers of this publication click: www.ndt.net/search/docs.php3?MainSource=65 UV-VIS-NIR REFLECTANCE SPECTROSCOPY OF RED LAKES IN PAINTINGS Christina Bisulca1, Marcello Picollo1, Mauro Bacci1, Diane Kunzelman2 1Istituto di Fisica Applicata “Nello Carrara” IFAC-CNR, Via Madonna del Piano 10, 50019 Sesto Fiorentino, Italy 2Opificio delle Pietre Dure, Via Alfani 78, 50123 Firenze, Italy ABSTRACT Identification of the natural red dyes and lakes from plants (the madders) and insects (cochineal, lac, and kermes) is typically carried out with destructive methods such as high performance liquid chromatography (HPLC), which can require time consuming and complicated sample preparation and method development. Identification with Fourier transform infrared spectroscopy (FTIR) is usually not possible due to the low concentration of the dye and the presence of the binder, and Raman is generally hindered by fluorescence without a specific instrumental set up. The ability to identify these materials with the non-invasive technique of UV-Vis-NIR fibre optic reflectance spectroscopy (FORS) offers many advantages, as no samples are required and the technique is very sensitive to dyes. There have already been several published studies on the analysis of these red dyes using FORS. While it is sometimes possible to distinguish between these dyes or broadly classify them as of animal or insect in origin, in the analysis of real paintings identification is complicated by the presence of other pigments, the nature of their application, as well as effects of natural ageing. These factors can mask or alter characteristic features in UV-Vis-NIR reflectance spectra. -
Hydroxyanthraquinone Dyes From
HYDROXYANTHRAQUINONE DYES FROM PLANTS Yanis Caro, Thomas Petit, Isabelle Grondin, Mireille Fouillaud, Laurent Dufossé To cite this version: Yanis Caro, Thomas Petit, Isabelle Grondin, Mireille Fouillaud, Laurent Dufossé. HYDROXYAN- THRAQUINONE DYES FROM PLANTS. Symposium on natural colorants “Plants, Ecology and Colours”, May 2017, Antananarivo, Madagascar. 2017. hal-01518543 HAL Id: hal-01518543 https://hal.archives-ouvertes.fr/hal-01518543 Submitted on 4 May 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. HYDROXYANTHRAQUINONE DYES FROM PLANTS Yanis CARO*,1, Thomas PETIT2, Isabelle GRONDIN1 , Mireille FOUILLAUD1 and Laurent DUFOSSE1 1 Laboratoire LCSNSA, Université de La Réunion (France); 2 UMR Qualisud, Université de La Réunion (France) Introduc)on In the plant kingdom, numerous pigments have already been iden)fied, but only a minority of them is allowed by legal regulaons for texMle dyeing, food coloring or cosmeMc and pharmaceuMcs’ purpurin physcion chrysophanol manufacturing. Anthraquinones, produced as secondary metabolites in plants, cons)tute a large structural hypericin variety of compounds among the quinone family. Anthraquinones are structurally built from an anthracene skyrin ring with a keto group on posi)on 9,10 as basic core and different func)onal groups such as -OH, -CH3, - rhein damnacanthal emodin ruberythric acid COOH, etc. -
The History of Visual Technology Fourth Edition, by James Janossy
TThhee HHiissttoorryy ooff VViissuuaall TTeecchhnnoollooggyy Rev 2 th 44 EEddiittiioonn James G. Janossy DePaul University College of Computing and Digital Media June, 2016 Expectations Joanne Paris, 2014 used by permission The History of Visual Technology Fourth Edition, by James Janossy ad maiorem Dei gloriam inque hominum salutem This publication contains readings useful as a supplement to The Story of Art by Sir Ernst Gombrich for course GPH-205 Historical Foundations of Visual Technology offered by the College of Computing and Digital Media (CDM) of DePaul University, Chicago. The classic text by Gombrich provides an excellent introduction to art of the Western world since the cave art of Lascaux and Altamira, with minor excursions into the art of the Middle East and China. The readings and web resources in these materials are designed to provide similar exploration of the highlights of the technologies employed from prehistoric times to the present by craftsmen and artists in support of the design intent of the course. Web resources cited in these materials are accessible via http://bit.ly/gph205-info. Copyright © 2016 James G. Janossy -- All rights reserved This publication is made available free of charge to students enrolled in GPH-205 at DePaul University, Chicago, Illinois, United States of America. Other instructors and institutions interested in using these materials to teach classes may be given permission to use this e-book, but must contact the author at [email protected] prior to using this material for that purpose. Limit of liability/disclaimer of warranty: While the author has used his best efforts in preparing this book, no representation or warranties are made with respect to the accuracy or completeness of the contents of this book and specifically disclaims any implied warranties of merchantability or fitness for a particular purpose.