Barium, Zinc and Strontium Yellows in Late 19Th–Early 20Th Century Oil Paintings Vanessa Otero1* , Marta F

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Barium, Zinc and Strontium Yellows in Late 19Th–Early 20Th Century Oil Paintings Vanessa Otero1* , Marta F Otero et al. Herit Sci (2017) 5:46 DOI 10.1186/s40494-017-0160-3 RESEARCH ARTICLE Open Access Barium, zinc and strontium yellows in late 19th–early 20th century oil paintings Vanessa Otero1* , Marta F. Campos1, Joana V. Pinto2, Márcia Vilarigues1, Leslie Carlyle1 and Maria João Melo1 Abstract This work focuses on the study of the 19th century yellow chromate pigments based on barium (BaCrO­ 4), zinc ­(4ZnCrO4 K2O 3H2O) and strontium ­(SrCrO4). These pigments, which are reported to shift in hue and darken, have been found· in· 19th century artworks. A better understanding of their historic manufacture will contribute to the visual/chemical interpretation of change in these colours. Research was carried out on the Winsor & Newton (W&N) 19th century archive database providing a unique insight into their manufacturing processes. One hundred and three production records were found, 69% for barium, 25% for zinc and 6% for strontium chromates, mainly under the names Lemon, Citron and Strontian Yellow, respectively. Analysis of the records shows that each pigment is charac- terised by only one synthetic pathway. The low number of records found for the production of strontium chromate suggests W&N was not selling this pigment formulation on a large scale. Furthermore, contrary to what the authors have discovered for W&N chrome yellow pigments, extenders were not added to these pigment formulations, most probably due to their lower tinting strength (TS). The latter was calculated in comparison to pure chrome yellow ­(PbCrO4, 100% TS) resulting in 92% for barium, 65% for zinc potassium and 78% for strontium chromate pigments. This indicates that W&N was probably using extenders primarily to adjust pigment properties and not necessarily as a means to reduce their costs. Pigment reconstructions following the main methods of synthesis were character- ised by complementary analytical techniques: Fibre optic refectance spectroscopy, X-ray difraction, micro-Raman and micro-Fourier transform infrared spectroscopies. These pigments can be clearly distinguished on the basis of 2 1 their infrared ­CrO4 − asymmetric stretching fngerprint profle (between 1000 and 700 cm− ) and of their Raman 2 1 ­CrO4 − stretching bands (850–950 cm− ). This enabled their identifcation in historic paint samples: a tube of late 19th century W&N Lemon Yellow oil paint and micro-samples from paintings by three Portuguese painters, António Silva Porto (1850–1893), João Marques de Oliveira (1853–1927) and Amadeo de Souza-Cardoso (1887–1918). The good cor- relation found between the reconstructions and historic samples validates their use as reference materials for future photochemical studies. Keywords: Barium yellow, Zinc yellow, Strontium yellow, Reconstructions, Winsor & Newton archive, 19th century paintings, µ-Raman, µ-FTIR, FORS, XRD Introduction zinc and strontium were introduced. While not as popu- Vauquelin’s discovery of chromium in 1797 and of the lar with artists, these three new yellows were nevertheless diferently coloured compounds derived from it, led to adopted throughout the 19th century [2–6]. Burnstock the development of a range of new yellow pigments, the et al. identifed these compounds in 19th to 20th cen- most popular being chrome yellow (lead chromate) [1]. tury pigments and paints using X-ray difraction (XRD) In addition, three yellow chromates based on barium, and scanning electron microscopy (SEM) with elemental analysis [6]. Tey are still in use today, especially as anti- *Correspondence: [email protected] corrosive pigments [7]. Table 1 includes their common 1 Department of Conservation and Restoration and LAQV‑REQUIMTE, and chemical names, chemical formula, colour index Faculty of Sciences and Technology, Universidade NOVA de Lisboa, (C.I.) numbers and other characteristics. 2829‑516 Monte da Caparica, Portugal Full list of author information is available at the end of the article © The Author(s) 2017. This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/ publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated. Otero et al. Herit Sci (2017) 5:46 Page 2 of 13 Table 1 Chrome, barium, zinc and strontium yellow pigments: common and chemical names, chemical formula, colour index number (C.I.), refractive index, solubility product constants (Ksp at 25 °C), crystal structure and space group [8–11] Common names Chrome yellow Barium yellow Zinc yellow Strontium yellow Lemon yellowa Citron yellow Strontian yellow Chemical name Lead chromate Barium chromate Zinc potassium chromate hydrate Strontium chromate Chemical formula PbCrO BaCrO 4ZnCrO K O 3H O SrCrO 4 4 4· 2 · 2 4 C.I. pigment yellow 34:77600 31:77103 36:77955 32:77839 Refractive index 2.3–2.65 1.94–1.98 1.84–1.9 1.92–2.01 14 10 11b 5 K 1.8 10− 1.17 10− 3.3 10− 3.5 10− sp × × × × Crystal structure Monoclinic Orthorhombic Monoclinic Monoclinic Space group P21/n Pnma P21/n P21/n a The designation “lemon yellow” was also used for zinc and strontium chromates [5] but herein it will only refer to barium chromate b The solubility product constant of zinc yellow is not tabulated. It was calculated using the data from Simonsen et al. [12] Barium chromate (BaCrO4), frst synthesised and ana- chromate (4ZnCrO4·K2O·3H2O) has been observed lysed by Vauquelin, resulted from adding a solution of in Georges Seurat’s paintings including A Sunday on barium nitrate to a chromate or dichromate (e.g. sodium La Grande Jatte—1884 [4, 17–19]. Casadio et al. stud- or potassium) solution [1]. Barium chloride may also be ied the darkening of oil paints prepared with a mod- used as an alternative source of barium [2, 13]. Trough- ern zinc yellow (DuPont, Y-539-D; PS-83109) and cold out the 19th century, barium chromate was known under pressed linseed oil (W&N), and subjected to artifcial several diferent names including: barium yellow, lemon aging under combined environmental conditions: light/ yellow, ultramarine yellow, baryta yellow and Steinbühl dark, air humidity (50 and 90% RH) and acidic gases yellow [2, 14]. (SO2 and CO2). Colour changes were observed in all Zinc chromate with the approximate composition of aging experiments, but the highest degree of darkening 4ZnCrO4·K2O·3H2O also appeared in the beginning of occurred in the presence of light, SO2 and 90% RH. By the 19th century, and the origin of its discovery is unclear means of Electron energy loss spectroscopy (EELS) and [1]. Recently, Simonsen et al. have determined its struc- X-ray absorption near-edge spectroscopy (XANES), ture as KZn2(CrO4)2H2O(OH) by single-crystal X-ray they determined that the darkening is related to the crystallography [12]. Tis pigment is formed by precipita- reduction of the original Cr(VI) in zinc yellow pigment tion when a solution of a zinc salt is added to a chromate to Cr(III) species such as the green chromium oxide solution (e.g. of sodium or potassium), in the presence (Cr2O3). Orange Cr(VI) dichromate species were also of potassium ions [2]. During the 19th century, the most detected in the samples aged under light, SO 2 and 50% common names for zinc chromate were zinc yellow and RH [17–19]. citron yellow but it was also labeled as ultramarine yel- low, yellow button of gold and permanent yellow [2, 5, The investigative methodology 14]. Te present study was prompted by the identifcation of It is also uncertain who synthesised strontium chro- barium and zinc chromate in oil paintings by the Portu- mate (SrCrO4) for the frst time [2, 14]. Presently it is guese Naturalists António Silva Porto (1850–1893) and obtained when a solution of strontium chloride is added João Marques de Oliveira (1853–1927), Fig. 1 (see also to a sodium dichromate solution [7]. During the 19th Additional fle 1: Figure S1) [20]. Strontium chromate century onwards, it appears variously as: strontian yellow, was also found in oil paintings by Silva Porto [20] and by strontaine yellow, lemon yellow and ultramarine yellow the Portuguese Modernist Amadeo de Souza-Cardoso (the last two names could also refer to barium chromate) (1887–1918), Fig. 2 [21]. Te study of the materials and [2, 5, 14]. techniques of these painters was carried out in the frame- Of the three yellow chromate pigments, barium work of the interdisciplinary project ‘Crossing Borders: chromate is considered the most lightfast, neverthe- History, materials and techniques of Portuguese painters less, it is reported to turn green after long exposure from 1850 to 1918 (Romanticism, Naturalism and Mod- to light [1]. Tis agrees with the reactivity model sug- ernism)’. Previously, Correia et al. had identifed barium gested by Monico and Tan et al., that relates the ten- and strontium chromate using μ-Raman in oil paintings dency to degrade with the solubility of the chromate by the Portuguese Naturalist Henrique Pousão (1859– pigments, see Table 1 [15, 16]. Darkening of zinc 1884) [22]. Otero et al. Herit Sci (2017) 5:46 Page 3 of 13 chemistry and characteristics of the reconstructed pig- ments were investigated using Fibre optic refectance spectroscopy (FORS), X-ray difraction (XRD), micro- Raman (μ-Raman) and micro-Fourier transform infra- red (μ-FTIR) spectroscopies. Teir composition was compared with samples from a late 19th century W&N “Lemon Yellow” tube of oil paint and late 19th-and early 20th century Portuguese oil paintings, Figs. 1 and 2.
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