Separating pigments and fillers from the polymer matrix in acrylic colors subjected to natural aging

Upon aging and exposure to ambient conditions, acrylic colors get dry and the degree of polymerization of the polymer matrix increases due to progressive cross-linking. When interested in studying acrylic colors, separation of the different components, namely matrix, pigments, and fillers, may be pa...

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Bibliographic Details
Published in:European physical journal plus 2022-08, Vol.137 (8), p.926, Article 926
Main Authors: Barni, D., Raimondo, L., Galli, A., Caglio, S., Mostoni, S., D’Arienzo, M., Martini, M., Sassella, A.
Format: Article
Language:English
Subjects:
Aging
Aging (natural)
Applied and Technical Physics
Art works
Atomic
Chemical properties
Chemical treatment
Cobalt
Color
Complex Systems
Condensed Matter Physics
Crosslinking
Cultural heritage
Degree of polymerization
Fillers
Fourier transforms
Glass substrates
Heat treating
Mathematical and Computational Physics
Molecular
Optical and Plasma Physics
Optical properties
Physics
Physics and Astronomy
Pigments
Polymers
Regular Article
Separation
Spectrum analysis
Theoretical
Thin films
Tubes
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Summary:Upon aging and exposure to ambient conditions, acrylic colors get dry and the degree of polymerization of the polymer matrix increases due to progressive cross-linking. When interested in studying acrylic colors, separation of the different components, namely matrix, pigments, and fillers, may be particularly useful for their identification and characterization. In the case of aged acrylic colors, as found in artworks themselves or in materials present in artist studios, the separation approaches requiring chemical treatments of fluid samples cannot be applied. To overcome this limit, here a controlled combustion strategy is developed for eliminating the polymer matrix from the color and then recovering a powder made of pigments and fillers, which is analyzed by optical spectroscopy and demonstrated to display the same chromatic/chemical properties of the original color. As a case study, the new method is successfully applied to acrylic colors used by the Italian artist Domenico “Ico” Parisi (1916–1996), found in the original tubes in his studio.
ISSN:2190-5444
2190-5444
DOI:10.1140/epjp/s13360-022-03117-4