ANALYSIS OF ART MATERIALS FLUORESCENCE IN THE ULTRAVIOLET RANGE AND THE POSSIBILITIES FOR INTERPRETING RESEARCH
DOI:
https://doi.org/10.32782/2411-3034-2025-38-8Keywords:
fluorophores, UV radiation, binding media, pigments, degradation, restoration interventionsAbstract
The aim of this study is to systematize scientific approaches to analyzing the fluorescence of art materials in the near-ultraviolet range, to identify the factors affecting its color and intensity, and to evaluate the potential and limitations of the method in the examination of paintings and works on paper. The methodology is based on a comprehensive approach that integrates general philosophical and scientific methods, combining an extensive review of literature with the author’s empirical research. The study focused on the fluorescence characteristics of varnish coatings, binding media, pigments, grounds, and painting supports, as well as on the influence of natural aging factors on the results of observations. The findings demonstrate that fluorescence reflects a complex interplay of the optical properties of components, their degradation products, and external factors. It was shown that the most intense fluorescence is exhibited by surface varnishes and natural binding media. The fluorescence characteristics of lead, zinc, and titanium whites, cadmium- and cobalt-based pigments, and a number of organic dyes have been systematized. The impact of production methods and impurities on fluorescence color and intensity has also been analyzed. The scientific novelty of this work lies in the systematization of scattered literature data alongside the author’s empirical observations, which allowed us to refine diagnostic features for a number of art materials and outline the interpretative limits of the method. A generalized database of fluorescence characteristics of common art materials has been developed, which can be used by art experts and conservators for the preliminary identification of components in artworks, the detection of restoration interventions, and the evaluation of preservation conditions.
References
Андріанова О. Б. Еволюція становлення та сучасні тенденції розвитку досліджень творів мистецтва в ультрафіолетовому діапазоні. Український мистецтвознавчий дискурс. 2024. Вип. 1. С. 8–17. https://doi.org/10.32782/uad.2024.1.1.
Hickey-Friedman L. A review of ultra-violet light and examination techniques. Objects Specialty Group Session: Proceedings of the 30th Annual Meeting / Eds. V. Greene, P. Griffin. Washington DC : Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works, 2002. Vol. 9. P. 161–168.
A study of UV fluorescence emission of painting materials / Pelagotti A., Pezzati L., Bevilacqua N. et al. Non-Destructive Testing and Microanalysis for the Diagnostics and Conservation of the Cultural and Environmental Heritage : Proceedings of the 8th International Conference (Lecce, Italy, 15–19 May 2005). 2005. P. 1–14. URL: https://aata.getty.edu/permalink/f/egsiir/GETTY_AATA9934098379101551 (дата звернення: 10.08.2025).
Cosentino A. Identification of pigments by multispectral imaging; a flowchart method. Heritage Science. 2014. Vol. 2, № 1. P. 8. https://doi.org/10.1186/2050-7445-2-8.
Cosentino A. Practical notes on ultraviolet technical photography for art examination. Conservar Património. 2015. Vol. 21. P. 53–62. https://doi.org/10.14568/cp2015006.
Dyer J., Verri G., Cupitt J. Multispectral Imaging in Reflectance and Photo-induced Luminescence modes: A User Manual. London : British Museum, 2013. 184 р. URL: https://www.britishmuseum. org/pdf/charisma-multispectral-imaging-manual-2013.pdf (дата звернення: 10.08.2025).
Paolini C. The diagnostic technique of False Colour and the application of Artificial Intelligence for its interpretation. FINAIS Collection / Eds. R. Kunz and A. Ghazarian. Zurigo : Finais, 2022. Vol. 3. С. 15–17.
Marsh G. S. The use of ultraviolet radiation in the examination of works of art, artefacts, and informational resources. ICCM Bulletin, 1978, 4(2–3), 29–40. https://doi.org/10.1179/iccm.1978.4.2-3.005.
Webb E. K. UV-Induced Visible Luminescence for Conservation Documentation / Luminiscencia visible inducida por UV para la documentaciуn en conservaciуn. UV-Vis Luminescence Imaging Techniques / Técnicas de imagen de luminiscencia UV-Vis. Valencia : Editorial Universitat Politècnica de València, 2020. С. 35–60.
Edwards G., Oey M. Digital imaging workflow for treatment documentation. 3rd ed. Conservation Division, Preservation Directorate, Library of Congress, 2018. 201 p. URL: https://www.loc.gov/preservation/resources/ImageDoc/Docs/Digital%20Imaging%20Workflow.pdf (дата звернення: 10.08.2025).
Mairinger F. The ultraviolet and fluorescence study of paintings and manuscripts. Radiation in Art and Archeometry / Eds. D.C. Creagh, D.A. Bradley. Amsterdam : Elsevier, 2000. P. 56–75. https://doi.org/10.1016/b978-044450487-6/50050-x.
Mairinger F. UV-, IR- and X-ray imaging. Non-destructive micro analysis of cultural heritage materials / Eds. K. Janssens and R, Van Grieken. Antwerp : Elsevier Science, 2004. С. 15–71. https://doi.org/10.1016/s0166-526x(04)80006-0 .
The AIC guide to digital photography and conservation documentation / Warda J., Frey F., Heller D. et al. 3rd ed. Washington : American Institute for Conservation of Historic and Artistic Works, 2017. 223 с.
Webber S. L. Technical Imaging of Paintings. Art Conservator. Williamstown Art Conservation Center Technical Bulletin. 2008. Vol. 3, № 1. P.19–22.
De la Rie E. R. Fluorescence of paint and varnish layers (Part I). Studies in Conservation. 1982. Vol. 27, № 1. P. 1–7. https://doi.org/10.1179/sic.1982.27.1.1.
De la Rie E. R. Fluorescence of paint and varnish layers (Part II). Studies in Conservation. 1982. Vol. 27, № 2. P. 65–69. https://doi.org/10.1179/sic.1982.27.2.65.
De la Rie E. R. Fluorescence of paint and varnish layers (Part III). Studies in Conservation. 1982. Vol. 27, № 3. P. 102–108. https://doi.org/10.1179/sic.1982.27.3.102.
Tragni C. The Use of Ultraviolet-Induced Visible Fluorescence for Examination of Photographs. Capstone Research Project, Advanced Residency Program in Photograph Conservation, Third Cycle 2003–2005. Rochester : George Eastman House : Image Permanence Institute, 2005. 116 с.
Spengeman W. F. Chapter 2.8. Pigments. Paint Testing Manual: Physical and Chemical Examination of Paints, Varnishes, Lacquers, and Colors. 13th Ed. / Eds. H. A. Gardner and G. G., Sward. Philadelphia : ASTM International, 1972. p. 150–164.
Stuart B. H. Light Examination and Microscopy. Analytical techniques in materials conservation / B. H. Stuart. Chichester : John Wiley & Sons, 2007. P. 72–108. https://doi.org/10.1002/9780470060520.ch3.
Андріанова О. Технологічні дослідження в структурі мистецтвознавчої експертизі. Український мистецтвознавчий дискурс : колективна монографія / за заг. ред. В. В. Карпова ; НАКККіМ. Рига : Baltija Publishing, 2020. С. 20–70.
Fluorescence of Binders and Varnishes Used in Paintings. Springer Series on Fluorescence / Comelli D., Melo M. J., Romani A. et al. Cham : Springer, 2025. https://doi.org/10.1007/4243_2025_52.
Johnson V., Colbourne J., Nicholson K. A Digital Imaging Tool for Identifying Photoactive Zinc Oxide Watercolor Pigments. The Book and Paper Group Annual of the American Institute for Conservation of Historic and Artistic Works. 2021. Vol. 40. P. 27–43.
An analytical survey of zinc white historical and modern artists’ materials / Palladino, N., Occelli, M., Wallez, G. et al. Heritage Science, 2024. Vol. 12, № 1. Article number 47. https://doi.org/10.1186/ s40494-023-01082-4.
Optical and theoretical investigation of Indian yellow (euxanthic acid and euxanthone) / De Fonjaudran Ch. M., Acocella A., Accorsi G. et al. Dyes and Pigments. 2017. Vol. 144. P. 234–241. https://doi.org/10.1016/j.dyepig.2017.05.034.
Luminescent inorganic pigments used in ancient and modern times / Gonzalez V., Gourier D., Wallez G. et al. Molecular Luminescence in Cultural Heritage. Springer Series on Fluorescence / Romani A., Nevin A., Comelli D., Melo M. J. (eds.). Cham : Springer, 2023. P. 1–45. https://doi.org/10.1007/4243_2022_43.
Degradation of cadmium yellow paint: new evidence from photoluminescence studies of trap states in Picasso’s Femme (Époque des “Demoiselles d’Avignon”) / Comelli D., MacLennan D., Ghirardello M. Analytical Chemistry. 2019. Vol. 91, № 5. P. 3421–3428. https://doi.org/10.1021/ acs.analchem.8b04914.
Fluorescence spectroscopy: a powerful technique for the noninvasive characterization of artwork / Romani A., Clementi C., Miliani C., Favaro G. Accounts of Chemical Research. 2010. Vol. 43, № 6. P. 837–846. https://doi.org/10.1021/ar900291y.
Near-infrared luminescence of cadmium pigments: In situ identification and mapping in paintings / Thoury M., Delaney J. K., De La Rie E. R. et. al. Applied Spectroscopy. 2011. Vol. 65, № 8. P. 939–951. https://doi.org/10.1366/11-06230.
Тимченко Т.Р. Експертиза творів образотворчого мистецтва: живопис (історія та методологія) : навч. посіб. Київ : НАКККіМ, 2017. 120 с.
Цитович В.І. Експертиза творів образотворчого мистецтва: живопис : (методологія та практика) : навч. посіб. Київ : НАКККіМ, 2018. 232 с.
Multi-step Approach for Characterization of Artworks Based on Hyperspectral Imaging and Complementary Techniques / Radvan R., Ratoiu L., Cortea I. M. et. al. Proceedings of the 11th International Conference on Developments in eSystems Engineering (DeSE) (Cambridge, UK, 02–05 Sept. 2018). 2018. https://doi.org/10.1109/dese.2018.00025.
MacBeth R., Breare C. The technical examination and documentation of easel paintings. Conservation of easel paintings / Eds. J. H. Stoner and R. Rushfield. London : Routledge, 2020. С. 302–321.
Norbutus A. J. Technical Investigation of the Materials and Methods Utilized in a Copy of a 17th Century Dutch Genre Painting: Gerrit Dou's "Man Interrupted at His Writing" (1635). Doctoral Diss. ProQuest, 2008. 217 с.
Koob S. Obsolete Fill Materials Found on Ceramics. Journal of the American Institute for Conservation. 1998. Vol. 37, № 1. P. 49–67. https://doi.org/10.2307/3179911 10.2307/3179911.
Rogge C. E., Lough K. Fluorescence fails: analysis of UVA-induced visible fluorescence and false- color reflected UVA images of tintype varnishes do not discriminate between varnish materials. Journal of the American Institute for Conservation. 2016. Vol. 55, № 2. P. 138–147. https://doi.org/10.1080/01971360.2016.1155813.
Longoni M., Cacciola E. S., Bruni S. UV-excited fluorescence as a basis for the in-situ identification of natural binders in historical painting: a critical study on model samples. Chemosensors. 2022. Vol. 10, № 7. Article 256. https://doi.org/10.3390/chemosensors10070256.
Cosentino A. Effects of different binders on technical photography and infrared reflectography of 54 historical pigments. International Journal of Conservation Science. 2015. Vol. 6, № 3. P. 287–298.
Aysha T., Elsedik M. S. Recent advances of functional fluorescent dyes: textile and non-textile applications. Egyptian Journal of Chemistry. 2025. Vol. 68, № 10. P. 227–261. https://doi.org/10.21608/ejchem.2025.348628.11071.
Puchtler H., Sweat F., Gropp S. An investigation into the relation between structure and fluorescence of azo dyes. Journal of the Royal Microscopical Society. 1967. Vol. 87, № 3–4. P. 309–328. https://doi.org/10.1111/j.1365-2818.1967.tb04513.x.
Pfaff G. Carbon black pigments. Physical Sciences Reviews. 2022. Vol. 7, № 2. P. 109–125. https://doi.org/10.1515/psr-2020-0152.
Carden M. L. Use of ultraviolet light as an aid to pigment identification. APT Bulletin: The Journal of Preservation Technology. 1991. Vol. 23, № 3. P. 26–37. https://doi.org/10.2307/1504337.
Measday D., Walker C., Pemberton B. A summary of ultra-violet fluorescent materials relevant to Conservation. AICCM National Newsletter, 2017, № 137, Р. 1–17. URL: https://primastoria. wordpress.com/wp-content/uploads/2017/03/uv-relevant-to-conservation.pdf (дата звернення: 10.08.2025).
Photoluminescence properties of zinc oxide in paints: a study of the effect of self-absorption and passivation / Clementi C., Rosi F., Romani A. et. al. Applied Spectroscopy. 2012. Vol. 66, № 10. P. 1233–1241. https://doi.org/10.1366/12-06643.
Johnson V. Ultraviolet-induced fluorescence and photo-degradation in zinc oxide watercolour paints: Ph.D. diss. / Northumbria University. Newcastle Upon Tyne, United Kingdom, 2020. 224 p. URL: http://nrl.northumbria.ac.uk/id/eprint/44076/ (дата звернення: 10.08.2025).
Djurišić A. B., Leung Y. H., Tam K. H. et. al. Green, yellow, and orange defect emission from ZnO nanostructures: Influence of excitation wavelength / Djurišić A. B., Leung Y. H., Tam K. H. et. al. Applied Physics Letters. 2006. Vol. 88. P. 103–107. https://doi.org/10.1063/1.2182096.
MOLAB, a mobile facility suitable for non-invasive in-situ investigations of early and contemporary paintings: case study – Victory Boogie Woogie (1942–1944) by Piet Mondrian / Miliani C., Sgamellotti A., Kahrim K., et. al. ICOM-CC Triennal Meeting. 2008. P. 244–251.
Van der Snickt G., Dik J., Cotte M. et. al. Characterization of a degraded cadmium yellow (CdS) pigment in an oil painting by means of synchrotron radiation based X-ray techniques. Analytical Chemistry. 2009. Vol. 81, № 7. P. 2600–2610. https://doi.org/10.1021/ac802518z.
Delaney, J. K. Photo-luminescence imaging spectroscopy for polychrome objects. UV-Vis Luminescence Imaging Techniques/Técnicas de imagen de luminiscencia UV-Vis / Eds. Eds. Marcello Picollo, Maartje Stols-Witlox and Laura Fuster-Lуpez. València : Universitat Politècnica de València, 2019. № 1. P. 103–118. https://doi.org/10.4995/360_2019.110002.
Degradation of CdS yellow and orange pigments: A preventive characterization of the process through pump–probe, reflectance / Pisu F. A., Pier Carlo Ricci, Porcu S. et. al. X-ray diffraction, and Raman spectroscopy. Materials. 2022. Vol. 15, № 16. Article number 5533. https://doi.org/10.3390/ ma15165533.
Monico L., Chieli A., De Meyer S. et. al. Role of the relative humidity and the Cd/Zn stoichiometry in the photooxidation process of cadmium yellows (CdS/Cd1−xZnxS) in oil paintings / Monico L., Chieli A., De Meyer S. et. al. . Chemistry – A European Journal. 2018. Vol. 24, № 45. P. 11584–11593. https://doi.org/10.1002/chem.201801503.
Isacco E., Darrah J. The Ultraviolet-Infrared Method of Analysis, a Scientific Approach to the Study of Indian Miniatures. Artibus Asiae. 1993. Vol. 53, № 3/4. P. 470. https://doi.org/10.2307/3250528.
Indian yellow / Baer N. S. et. al. Artists' Pigments: A Handbook of their History and Characteristics, Vol. 1 / Ed. R. L. Feller. Cambridge : Cambridge University Press, 1986. P. 17–361.
Multi-technique characterisation of commercial alizarin-based lakes / Pronti L., Mazzitelli J.-B., Bracciale M. P. et. al. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy. 2018. Vol. 200. P. 10–19. https://doi.org/10.1016/j.saa.2018.04.008.
Kirby J., Spring M., Higgitt C. The Technology of Red Lake Pigment Manufacture: Study of the Dyestuff Substrate. National Gallery Technical Bulletin. 2005. Vol. 26. P. 71–87.
The issue of eosin fading: A combined spectroscopic and mass spectrometric approach applied to historical lakes / Sabatini F., Eis E., Degano I. et. al. Dyes and Pigments. 2020. Vol. 180. Article number 108436. https://doi.org/10.1016/j.dyepig.2020.108436.
Schweppe H., Roosen-Runge H. Carmine – cochineal carmine and kermes carmine. Artists' Pigments: A Handbook of their History and Characteristics, Vol. 1 / Ed. R. L. Feller. Cambridge : Cambridge University Press, 1986. С. 255–283.
Fiske B., Morenus L. S. Ultraviolet and infrared examination of Japanese woodblock prints: identifying reds and blues. The Book and Paper Group Annual. 2004. Vol. 23. P. 21–32.
Kirby J., Spring M., Higgitt C. The Technology of Eighteenth- and Nineteenth-Century Red Lake Pigments. National Gallery Technical Bulletin. 2007. Vol. 28. P. 69–87.
Deeper insights into the photoluminescence properties and (photo)chemical reactivity of cadmium red (CdS1−xSex) paints in renowned twentieth century paintings by state-of-the-art investigations at multiple length scales / Monico L., Rosi F., Vivani R. et. al. Eur. Phys. J. Plus. 2022. Vol. 137. Article number 311. https://doi.org/10.1140/epjp/s13360-022-02447-7.
Jensen E. L. Ultramarine Blue Pigment, Synthetic [Електронний ресурс] / McCrone Research Institute. URL: https://www.mccrone.com/mm/ultramarine-blue-pigment-synthetic/ (дата звернення: 10.08.2025).
Winter S. De. Conservation problems with paintings containing fluorescent layers of paint. CeROArt. Conservation, exposition, Restauration d’Objets d’Art. 2010. URL: https://doi.org/10.4000/ceroart.1659.
On the discovery of an unusual luminescent pigment in Van Gogh’s painting “Les bretonnes et le pardon de pont Aven” / Comelli D., Nevin A., Brambilla A. et al. Applied Physics A. 2012. Vol. 106, № 1. P. 25–34. https://doi.org/10.1007/s00339-011-6665-9.
Multianalytical study of historical luminescent lithopone for the detection of impurities and trace metal ions / Bellei S., Nevin A., Cesaratto A. et al. Analytical Chemistry. 2015. Vol. 87, № 12. P. 6049–6056. https://doi.org/10.1021/acs.analchem.5b00560.
Андріанова, О. Б., & Біскулова, С. О. Ґрунти живописних творів ХХ–ХХІ ст. Дослідження, аналіз, можливості датування. Український мистецтвознавчий дискурс, 2022. Вип. 4. С. 6–13. https://doi.org/10.32782/uad.2022.4.1.
Andrew S. R., Eastop D. Using ultra‐violet and infra‐red techniques in the examination and documentation of historic textiles. The Conservator. 1994. Vol. 18, № 1. P. 50–56. https://doi.org/10.1080/01410096.1994.9995084.
Simpson-Grant M. The Use of Ultraviolet Induced Visible-Fluorescence in the Examination of Museum Objects: Part II. Conserve O Gram. 2000. № 1/10. 4 р.
Davies A. Digital Ultraviolet and Infrared Photography. Focal Press, 2017. 200 p.
Cohn M. B. A Hazard of Float Washing: Regeneration of Papersizing. The Book and Paper Group Annual. 1982. Vol. 1. Washington : American Institute for Conservation. P. 31–49. URL: https://cool.culturalheritage.org/coolaic/sg/bpg/annual/v01/bpga01-07.pdf (дата звернення: 10.08.2025).
Craddock P. T. Scientific investigation of copies, fakes and forgeries. Oxford ; Burlington, MA : Elsevier ; Butterworth-Heinemann, 2009. 628 p.
Андріанова О., Біскулова С., Борисенко М. Технологічне дослідження як складова експертизи при атрибуції та реставрації творів мистецтва на паперовій основі. Сучасні проблеми консервації і реставрації пам’яток мистецтва та писемної культури на пергаментній і паперовій основах : матеріали доповідей Першої міжнародної науково-практичної конференції (23 лист. 2018, Львів). Львів : УАД, 2018. С. 23–31.
Tholl J. Ultraviolet in Court: Its Use Is No Longer for Experts Only. American Bar Association Journal. 1951, Vol. 37. № 8. P. 591–639. URL: http://www.jstor.org/stable/25717738 (дата звернення: 10.08.2025).
