Nanoscale engineering of gold particles in 18th century Böttger lusters and glazes.

SignificanceThe exploration of gold-based colorants in glass and glazes led Nobel Laureate Richard Zsigmondy to the study of colloids, and to the development, with Henry Siedentopf, of the earliest microscopes capable of resolving such small length scales. Zsigmondy's studies were preceded by alchemical investigations starting in the 17th century that yielded the gold-based Purple of Cassius, and experiments in the early 18th century resulting in an unusual purple iridescent porcelain overglaze, called Böttger luster, at the Meissen Manufactory. We discuss the first nano-scale characterization of Böttger luster, its successful replication, and propose an explanation for its optical properties based on the physics of scattering and interference of nanoparticle arrays.

Chemical fingerprinting of ready-mixed house paints of relevance to artistic production in the first half of the twentieth century. Part I: Inorganic and organic pigments.

This study reports the multi-analytical investigation of ready-mixed house paints used by artists such as Pablo Picasso (1881-1973) in the first half of the twentieth century. The pigment composition of paint swatches on four historic paint sample cards from the Art Institute of Chicago reference collection was characterized by thorough screening using Fourier transform infrared (FT-IR) and X-ray fluorescence (XRF) spectroscopies, followed by Raman spectroscopy when necessary. Spectroscopic investigations highlighted the dominance of zinc-based whites, the consistent choice of particular pigments or their mixtures, as well as the avoidance of others to achieve the various hues on the sample cards. Notable findings included the documentation of strong spectroscopic signatures of metal soaps. Given the similarities in composition of early twentieth century artists' and house paints, the results indicate that the identification of house paints in works by Pablo Picasso and others must be based on a combination of parameters rather than the detection of a single chemical marker. Results have been applied to the case study of Picasso's 1935 sculpture Figure (AIC 1988.428), which incorporates direct evidence of the use of house paint by the artist.