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Pigments between Antiquity and Modernity
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Pigments between Antiquity and Modernity

A special issue of Materials (ISSN 1996-1944). This special issue belongs to the section "Advanced Materials Characterization".

Deadline for manuscript submissions: closed (20 February 2024) | Viewed by 9549

Special Issue Editors

Dr. Francesco Caridi

E-Mail Website
Guest Editor
Department of Mathematics and Informatics, Physic and Earth Sciences (MIFT), University of Messina, 98166 Messina, Italy
Interests: material science and engineering; biomaterials; nanocellulose; xerogels; food packaging and engineering; nanostructured materials; composite materials
Special Issues, Collections and Topics in MDPI journals
Dr. Giuseppe Paladini

E-Mail Website
Guest Editor
Department of Mathematical and Computer Sciences, Physical Sciences and Earth Sciences, University of Messina, 98166 Messina, Italy
Interests: biopolymers; xerogels; nanocellulose; drug delivery systems; FTIR-ATR spectroscopy; Raman spectroscopy; neutron spectroscopy; material characterization
Special Issues, Collections and Topics in MDPI journals
Dr. Sebastiano Ettore Spoto

E-Mail Website
Guest Editor
Department of Mathematical and Computer Sciences, Physical Sciences and Earth Sciences, University of Messina, 98166 Messina, Italy
Interests: Raman spectroscopy; geochemistry; source-to-sink sedimentary dynamics; mineral pigments; CLIL (content and language-integrated learning) methodology
Special Issues, Collections and Topics in MDPI journals

Special Issue Information

Dear Colleagues,

Colors can trigger memories of our childhood, the magnificence of nature, our cultural roots, or the splendor of humanity. Since prehistoric times, man has been fascinated in applying color to everyday objects, providing them with a solid cultural and symbolic meaning. Nowadays, colors can unify and divide, symbolize and materialize, and codify and simplify, all this thanks to pigments, materials with either an inorganic or organic composition, natural or synthetic, presenting great interest in scientific research and practical applications.

The knowledge of the chemical and physical behavior of pigments and their modifications, alterations, and interactions that they undergo is based on the results of studies and research conducted using the most common techniques performed through invasive or noninvasive analyses, applied in situ or in a laboratory setting as, for instance, optical spectroscopy, colorimetry, X-ray diffractometry, fluorescence analysis, scanning electron microscopy (SEM), transmission electron microscopy (TEM), mass spectrometry-based techniques, but also through specifically developed innovative technologies.

This Special Issue welcomes research and review papers regarding the chemical–mineralogical composition and morphological and physical characterization of natural, premodern, and modern synthetic pigments. These include natural and synthetic pigments embedded in historical, archaeological, and artistic contexts, as well as the latest innovations in this field through the development of high-performance pigments.

In this context, particular attention will be paid to contributions regarding, but not restricted to, the following topics:

  • In situ characterization of pigments in historical, archaeological, and artistic sites.
  • Pigments and archaeological issues (e.g., raw material supply, trade routes, etc.)
  • Noninvasive and microinvasive analytical techniques applied to the study of pigments.
  • New and specific pigment libraries.
  • Physical–chemical degradation and biodeterioration of pigments.
  • Provenance study on mineral pigments.
  • Identification of pigments in forensic examinations.
  • Conservation and restoration.
  • High-performance pigments.
  • Organic pigments and dyes.
  • Pigments for concrete and building materials.
  • Characterization of modern and commercial pigments.
  • Development of new scientific strategies for the investigation of pigments.
  • Environmental impact of pigments and their production. 

Prof. Dr. Francesco Caridi
Dr. Giuseppe Paladini
Dr. Sebastiano Ettore Spoto
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a single-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Materials is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 2600 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Published Papers (4 papers)

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Research

44 pages, 14796 KiB  
Article
Painting Materials and Technique for the Expression of Chinese Inheritance in Liu Kang’s Huangshan and Guilin Landscapes (1977–1996)
by Damian Lizun, Teresa Kurkiewicz, Bogusław Szczupak and Jarosław Rogóż
Materials 2022, 15(21), 7481; https://doi.org/10.3390/ma15217481 - 25 Oct 2022
Cited by 1 | Viewed by 2041
Abstract
Liu Kang (1911–2004) was a Chinese artist who settled in Singapore in 1945 and eventually became a leading modern artist in Singapore. He received academic training in Shanghai (1926–1928) and Paris (1929–1932). Liu Kang’s frequent visits to China from the 1970s to the [...] Read more.
Liu Kang (1911–2004) was a Chinese artist who settled in Singapore in 1945 and eventually became a leading modern artist in Singapore. He received academic training in Shanghai (1926–1928) and Paris (1929–1932). Liu Kang’s frequent visits to China from the 1970s to the 1990s contributed to a special artistic subject—the Huangshan and Guilin mountains. This subject matter triggered an uncommon painting approach for his oeuvre. In this context, this study elucidates the artist’s choice of materials and methods for the execution of 11 paintings, dating between 1977 and 1996, depicting Huangshan and Guilin landscapes. The paintings belong to the collection of the National Gallery Singapore. They were investigated with a combination of non- and micro-invasive techniques, supplemented by a wealth of documentary sources and art history research. The obtained results highlight the predominant use of hardboards resembling Masonite® Presdwood® without the application of an intermediate ground layer. Commercially prepared cotton and linen painting supports were used less frequently, and their structure and ground composition were variable. This study revealed the use of a conventional colour base for the execution of the paintings—a consistent colour scheme favouring ultramarine, yellow and red iron-containing earths, viridian and titanium white. Less commonly used pigments include Prussian blue, cobalt blue, phthalocyanine blue, phthalocyanine green, naphthol red AS-D, umber, Cr-containing yellow(s), cadmium yellow or its variant(s), Hansa yellow G, lithopone and/or barium white and zinc white and bone black. The documentary sources indirectly pointed to the use of Royal Talens, Rowney and Winsor & Newton, brands of oil paints. Moreover, technical and archival findings indicated the artist’s tendency to recycle rejected compositions, thereby strongly suggesting that the paintings were executed in the studio. Although this study focuses on the Singapore artist and his series of paintings relating to China, it contributes to existing international studies of modern artists’ materials. Full article
(This article belongs to the Special Issue Pigments between Antiquity and Modernity)
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19 pages, 15119 KiB  
Article
Special-Effect and Conventional Pigments in Black Light Art: A Multi-Technique Approach to an In-Situ Investigation
by Margherita Longoni, Serena Francone, Maddalena Boscacci, Diego Sali, Isabella Cavaliere, Vittoria Guglielmi and Silvia Bruni
Materials 2022, 15(19), 6671; https://doi.org/10.3390/ma15196671 - 26 Sep 2022
Viewed by 1352
Abstract
Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the [...] Read more.
Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the other class of luminescent pigments, namely the phosphorescent ones, is now produced industrially. The peculiar optical properties of these pigments have attracted more and more the attention of famous artists since the middle of the last century. The Italian Black Light Art movement exploits the possibility of conveying different aesthetical messages depending on the kind of radiation (UV or visible) with which the artwork is illuminated. In the present work, a non-invasive in-situ investigation based on Raman, fluorescence, and visible-reflectance spectroscopies was performed on a series of Black Light Art paintings exhibited in Milan (Italy) in 2017, succeeding in the identification of the materials used by the artists. In particular, the use of both fluorescent and phosphorescent pigments, alone or combined with conventional synthetic organic pigments, has been recognized. Full article
(This article belongs to the Special Issue Pigments between Antiquity and Modernity)
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18 pages, 4898 KiB  
Article
Structure and Stability Characterization of Natural Lake Pigments Made from Plant Extracts and Their Potential Application in Polymer Composites for Packaging Materials
by Bolesław Szadkowski, Małgorzata Kuśmierek, Magdalena Śliwka-Kaszyńska and Anna Marzec
Materials 2022, 15(13), 4608; https://doi.org/10.3390/ma15134608 - 30 Jun 2022
Cited by 9 | Viewed by 2254
Abstract
Natural dyes were extracted from various plant sources and converted into lake pigments based on aluminum and tin. Three different plants (weld, Persian berries, and Brazilwood) were chosen as representative sources of natural dyes. High-performance liquid chromatography (HPLC) and triple-quadrupole mass spectrometry (QqQ [...] Read more.
Natural dyes were extracted from various plant sources and converted into lake pigments based on aluminum and tin. Three different plants (weld, Persian berries, and Brazilwood) were chosen as representative sources of natural dyes. High-performance liquid chromatography (HPLC) and triple-quadrupole mass spectrometry (QqQ MS) were used to identify dyestuffs in the raw extracts. The natural dyes and lake pigments were further characterized by optical and scanning electron microscopy (SEM), UV-Vis spectrophotometry, and thermogravimetric analysis (TGA). The stabilization of the studied plant extracts onto aluminum and tin salts led to the formation of natural lake pigments characterized by different color shades. The natural lake pigments showed improved thermal and chemical stability, which was confirmed by their higher degradation temperatures and lower solubility in chemical agents compared to natural dyes extracted from plants. This improvement can be attributed to electrostatic attraction due to the process of chelation. Ethylene-norbornene (EN) composites colored with the lake pigments exhibited uniform color and improved resistance to long-term UV exposure aging. After 300 h of UV exposure, the aging factor of the neat EN copolymer reduced to 0.3, indicating an advanced aging process of polymer compared to colored samples. Prolonged UV exposure deteriorated the mechanical properties of EN by approximately 57%, compared to about 43% with the application of BW/Al lake pigment. Natural lake pigments could be used as effective substitutes for commercial colorants in plastics for packaging applications. Full article
(This article belongs to the Special Issue Pigments between Antiquity and Modernity)
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25 pages, 7733 KiB  
Article
Full Spectral Range Raman Signatures Related to Changes in Enameling Technologies from the 18th to the 20th Century: Guidelines, Effectiveness and Limitations of the Raman Analysis
by Philippe Colomban
Materials 2022, 15(9), 3158; https://doi.org/10.3390/ma15093158 - 27 Apr 2022
Cited by 9 | Viewed by 2711
Abstract
This study investigates the comparison of the Raman signatures of different phases used in underglaze, inglaze and overglaze decors of selected European, Chinese and Japanese porcelains and enameled metalworks, which are particularly representative of technological developments in enameling. Specifically, the article deals with [...] Read more.
This study investigates the comparison of the Raman signatures of different phases used in underglaze, inglaze and overglaze decors of selected European, Chinese and Japanese porcelains and enameled metalworks, which are particularly representative of technological developments in enameling. Specifically, the article deals with the main structural types or host networks (corundum/hematite, spinels, zircon, cassiterite, pyrochlore, apatite, sphene, etc.) used for colored enamels on porcelain, earthenware or metal rather than considering all types of pigments and opacifiers. According to the results, Raman microspectroscopy allows identifying of the fingerprint spectra of milestone technologies and represents a simple and rapid tool for detecting copies. Particular attention is paid to the information deduced from the examination of the associated ‘background’ and signatures from electronic transitions induced by uncontrolled traces or voluntary addition of rare earths (luminescence). The relationship between the grinding procedure and Raman signature is also discussed. Full article
(This article belongs to the Special Issue Pigments between Antiquity and Modernity)
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