Study of the GC–MS determination of the palmitic–stearic acid ratio for the characterisation of drying oil in painting: La Encarnación by Alonso Cano as a case study (original) (raw)
Related papers
Pitfalls in drying oils identification in art objects by gas chromatography
Journal of Separation Science, 2006
Drying oils identification in art objects is an important step in the scientific investigation of the artifact which provides conservators and art historians with valuable information concerning materials used and painting techniques applied. The present communication is devoted to pitfalls and troubleshooting in drying oils identification by means of GC-MS analysis of fatty acids composition in a microsample of an art object. We demonstrate that in the case of nonlinear instrument response the ratios of palmitic to stearic (P/S), distinctive for each oil type and used for drying oil identification, depend on sample dilution so that different dilutions of the same sample can give different P/S ratios. This phenomenon can hinder drying oil identification and lead to erroneous interpretations. This is an important observation as nowadays very often the P/S ratio is calculated from the corresponding peak area ratios or by the use of one-point calibration method. In these approaches, the linearity of the instrument response is not controlled and ensured. In the case analyzed, the nonlinear instrument response was attributed to incomplete sample evaporation in the injector. Packing of the glass liner with deactivated glass wool improved the sample evaporation and ensured the linearity of the instrument response and independence of the P/S ratio from sample dilution.
Gas chromatography/mass spectrometry of oils and oil binders in paintings
Journal of Separation Science, 2008
Gas chromatography/mass spectrometry of oils and oil binders in paintings A GC/MS procedure has been developed, optimized, and applied to characterization of oil binders in paintings. The procedure involves hydrolysis of lipids to fatty acids (FAs) and derivatization of FAs to fatty acid methyl esters (FAMEs) by a solution of sodium methanolate in methanol at an elevated temperature. FAMEs are analyzed by temperature-programed GC followed by full-scan MS. Old and dried samples are subjected to extraction of nonpolymerized FAMEs into dichloromethane prior to hydrolysis. The method provides a good repeatability of results and has been applied to the characterization of common plant oils used in paintings, to commercial oil and tempera paints, to model painting samples, and to samples taken from real paintings. The fresh oils and binders can readily be identified and characterized. The ratio of the methyl esters of palmitic and stearic acids can be used to characterize oil binders in old works of art.
Talanta, 2004
A new HPLC-UV-Vis method for identification of drying oils from binding media or protective film used in pictorial works of art prior to conservation or restoration is proposed. Chromophore derivatization of fatty acids released by hydrolysis of structural drying oils is studied. The derivatization reagent selected was 2-nitrophenylhydrazine with 1-ethyl-3-(3-dimethyl animopropyl)carbodiimide hydrochloride/pyridine as catalyst. This reaction was carried out using microwave heating. Mobile phase was methanol/water/n-propanol/acetic acid (80:14:5:1) running in isocratic mode. Absorbance was measured at 400 nm. In these conditions, hydrazides of myristic, palmitic, oleic, and stearic acids were satisfactorily resolved. Method shows good sensitivity, with a detection limit of 15 mol l −1 , and good linearity between 0.03 and 3 mmol l −1. Peak area ratios among fatty acids derivatives allows identification of the drying oils. The stearic/palmitic ratio is the most important, because it allows to differentiate among the different drying oils. The proposed method has been successfully applied to real samples from items of the cultural heritage of Valencia (Spain).
Journal of Analytical and Applied Pyrolysis, 2002
Conservation scientists are frequently asked to identify the materials that are contained in microscopic fragments from works of art. For decades, the only technique successfully used for characterising the type of oil binder used from dried oil paints has been gas chromatography/mass spectrometry (GCMS). Unfortunately, the process requires a lengthy sample preparation and some of the derivatisation processes used present serious health and safety implications. Although thermally assisted hydrolysis and methylation-GCMS (THM-GCMS) has been used more recently for the analysis of traditional paint binders, its ability to distinguish between different oil types has yet to be ascertained. This paper describes the use of THM-GCMS to examine differences in the fatty acid composition of dried pigmented films of linseed, linseed stand, poppy, safflower and walnut oil. The results were compared for pyrolysis at 610 and 770°C, two of the most commonly used temperatures in Curie point pyrolysis, in order to verify reproducibility of the results. Based on three runs for each sample, the fatty acid composition (measured as methyl esters) was found to be temperaturedependent, as previously suggested in literature. At the lower pyrolysis temperature (610°C), a higher degree of reproducibility was seen and the ability to differentiate between each of the dried oil types using palmitate/stearate (P/S) ratios was improved. Interestingly, the P/S observed for each oil at this pyrolysis temperature were found to be close to those obtained by published GCMS procedures. In addition, samples of dried pigmented films of egg yolk were investigated and it was confirmed that this medium could be differentiated from each : S 0 1 6 5 -2 3 7 0 ( 0 1 ) 0 0 1 6 4 -4 340 F. Cappitelli et al. / J. Anal. Appl. Pyrolysis 63 (2002) 339-348 of the drying oils at this pyrolysis temperature from their azelate/palmitate ratios. These preliminary findings are encouraging for the use of THM-GCMS as an alternative method to GCMS for the identification of oils used as binders in paints.
PLoS ONE, 2012
This paper presents an analytical investigation of paint reconstructions prepared with linseed oil that have undergone typical 19th century treatments in preparation for painting. The oil was mechanically extracted from the same seed lot, which was then processed by various methods: water washing, heat treatments, and the addition of driers, with and without heat. A modern process lead white (Dutch source, Schoonhoven) and a commercially available vine black were used as pigments. The reconstructions were prepared in 1999, and naturally aged from then onwards. We compared thermogravimetric analysis (TG), which yields macromolecular information, with gas chromatography-mass spectrometry (GC-MS) and direct exposure mass spectrometry (DEMS), which both provide molecular information. The study enabled us to quantitatively demonstrate, for the first time, that the parameters used to identify drying oils are deeply influenced by the history of the paint. In particular, here we show that the ratio between the relative amounts of palmitic and stearic acid (P/S), which is used as an index for differentiating between drying oils, is extremely dependent on the pigments present and the age of the paint. Moreover the study revealed that neither the P/S parameter nor the ratios between the relative amounts of the various dicarboxylic acids (azelaic over suberic and azelaic over sebacic) can be used to trace the sorts of pre-treatment undergone by the oil investigated in this study. The final results represent an important milestone for the scientific community working in the field, highlighting that further research is still necessary to solve the identification of drying oils in works of art.
Molecular Tracing of the Biological Origin of Drying Oils Used in Works of Art
2020
Until recent times, artists have used a variety of binding media obtained from biological materials of animal or plant origin. Seed or nut oils capable to form a protective film when drying were an essential component of paints. Current methods such as gas chromatography coupled with mass spectrometry allow identifying biological origin of a specific drying oil, but chemical composition is a highly variable factor and can change with plant cultivar, soil, season or weather conditions of harvesting increasing the possibility of error. In addition, mixing oil from different biological species can mislead the analyses because it alters the composition of chemical compounds used in species identification. We report the development of a protocol for the identification of the biological source of drying oils used to prepare binding media for paints. Chloroplast DNA sequences were successfully amplified from tiny oil samples, both fresh and from aged pictorial models. Sequencing of the trn...
Journal of Chromatography A, 2005
A HPLC-fluorescence method for identification of drying oils from binding media or protective film used in pictorial works of art prior to conservation or restoration is proposed. Fluorescence derivatization of fatty acids released by hydrolysis of structural drying oils is studied. The derivatization reagent was 4-(bromomethyl)-7-methoxycoumarin with 18-crown-6 as catalyst. Mobile phase was programmed from methanol-water (90:10 v/v) to methanol-water (100:0 v/v) in 25 min. The excitation and emission wavelengths were 325 and 395 nm, respectively. Under these chromatographic conditions, coumarin derivatives of myristic, palmitic, oleic and stearic acids were satisfactorily resolved. The method shows good sensitivity, with a detection limit of 6.0 × 10 −8 mmol, and good linearity between 1.0 × 10 −7 and 1.8 × 10 −4 mmol of each analyte. Peak area ratios among fatty acids derivatives, especially the stearic acid/palmitic acid peak area ratio, are useful to identify the drying oils. The proposed method has been successfully applied to artistic samples from items of the cultural heritage of Valencia (Spain).
Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios
Molecules, 2021
In this study, quantitative gas chromatography–mass spectrometry (GC–MS) analysis was used to evaluate the influence of pigment concentration on the drying of oil paints. Seven sets of artificially aged self-made paints with different pigments (yellow ochre, red ochre, natural cinnabar, zinc white, Prussian blue, chrome oxide green, hematite + kaolinite) and linseed oil mixtures were analysed. In the pigment + linseed oil mixtures, linseed oil concentration varied in the range of 10 to 95 g/100 g. The results demonstrate that the commonly used palmitic acid to stearic acid ratio (P/S) to distinguish between drying oils varied in a vast range (from especially low 0.6 to a common 1.6) even though the paints contained the same linseed oil. Therefore, the P/S ratio is an unreliable parameter, and other criteria should be included for confirmation. The pigment concentration had a substantial effect on the values used to characterise the degree of drying (azelaic acid to palmitic acid rat...
Direct chemolysis-gas chromatography-mass spectrometry for analysis of paint materials
Journal of Separation Science, 2004
Direct chemolysis-gas chromatography-mass spectrometry for analysis of paint materials A novel direct method using (m-trifluoromethylphenyl)trimethylammonium hydroxide (TFTMAH) has been developed for on-line (trans)esterification of lipidic materials (drying oils, egg) prior to GC-MS analysis. The method was first optimised by comparing three N-methylammonium hydroxide reagents (TMAH, PhTMAH, TFTMAH) and triolein as a lipid standard. Secondly, the procedure was tested on a series of fresh and naturally aged (up to 40 years) (un)pigmented drying oils and egg yolk reference film standards. Thirdly, the method was applied to the analysis of a sample from an altar painting "Resurrection of Christ" by Francesco Solimena (1723) from the Chapel of Upper Belvedere in Vienna. The relative proportions of the fatty acids from the translucent size layer confirm the presence of partially degraded oil, probably prepolymerised walnut oil.