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Introduction:Methods:Key results and discussion:A reliable method for measuring brown moss production helps us to understand the functioning of fen peatlands and to quantify their peat formation rate. However, traditional methods based on height increment are not suitable for measuring the growth rate of brown mosses with numerous lateral branches.The growth rate of common brown moss species in temperate and boreal fens was measured using two methods: (i) the marking method – a moss shoot was marked with oil paint and its growth increment measured from the mark (in the laboratory and in the field); and (ii) the plug method – a fragment of a moss colony was ‘plugged' (i.e. cored), weighed and replanted in a small basket for a year, then weighed again; a similar and bottomless basket was fixed in the moss colony as a control.Despite promising laboratory results, the marking method gave low shoot survival in the field, probably due to the restriction of external water transport along the shoots. No differences in shoot elongation were found between the plug method and the control. The plug method comprises the measurement of both apical and lateral growth, and the authors of the present study therefore recommend it for measuring the growth of brown mosses with numerous lateral branches. Considering only the elongation of the top shoots leads to an underestimation of growth by 50% and consequently to an underestimation of the peat-forming potential of brown mosses. [ABSTRACT FROM AUTHOR]

The exhibition "Fashioned by Sargent" at the Museum of Fine Arts, Boston showcased the clothing worn by John Singer Sargent's sitters alongside his paintings, revealing his skill in manipulating clothing to convey identity, social status, and modernity. The exhibition included nearly fifty paintings by Sargent and a dozen garments worn by his sitters, and was co-organized by the Museum of Fine Arts, Boston and Tate Britain. The exhibition was well-received by visitors, who appreciated the informative text panels, comfortable seating, and well-planned spaces. The exhibition was organized thematically, highlighting the importance of clothing in Sargent's work and its role in conveying power, gender ambiguity, and artistic expression. [Extracted from the article]

Yellow ochre commercial oil paint used in art and restoration was submitted to accelerated aging at 378 K between 5–720 h. SEM-EDS analysis shows particles with size in the range of 1.4–2.5 μm with high iron concentration in the paint aged from 360 h. EPR spectra showed a variation of g values between 2.2256 and 2.1719 (Fe3+) for samples aged 5–720 h, respectively, attributed to changes in the goethite chemical environment. Infrared analysis showed the presence of carboxylate groups in the aged material as the result of the molecular interaction between the product of linseed oil hydrolysis (palmitate) and the goethite surface through hydrogen bonding (R–C–OO⋯H–O–FeO). Such data is also supported by the Zeta potential of the pigment surface, which decreased as a function of aging time. The results show the change in the chemical environment of goethite is proportional to the increase in oil oxidation/hydrolysis products. The EPR and Zeta potential proved to be promising for the study of the molecular interactions in oil painting aging and can be used for new pigment/media formulations and for proposing new materials aimed at inhibiting the hydrolytic/oxidative processes of oil paints. [ABSTRACT FROM AUTHOR]

The recurrence of specific deteriorating phenomena in blue paints used by Edvard Munch, observed more frequently from artworks from 1907 and onwards, calls for an analytical investigation of these paints. Ten commercial Ultramarine blue oil paint tubes from Munch's studio materials were studied, employing a multi-analytical approach comprising ATR-FTIR, µ-Raman, GC-MS, and SEM-EDS techniques. This study aims to ascertain the composition of these industrially produced blue oil paints and shed more light on the potential implications for darkening and other deterioration phenomena observed in Munch's artworks. The analyzed samples exhibited complex mixtures, characterized by significant presences of additives such as non-drying or partially drying oils, metal soaps, and preservatives. Moreover, extenders including clay minerals and white and other blue pigments were identified. Some compositions diverged from those indicated on the labels of the tubes. This study presents hypotheses regarding the causes of deterioration mechanisms observed in Ultramarine blue paints and outlines future perspectives and implications of darkening and other surface degradation phenomena in paintings from MUNCH's collection towards best conservation and display practices. [ABSTRACT FROM AUTHOR]

Colourless glass particles are found in oil painting layers from the fifteenth-seventeenth centuries. Several historical sources mention the use of finely ground glass powder as a solid drier. In order to assess the siccative effect of glass particles added to paint, this research focused on red lake reconstructions and followed their natural drying using Fourier transform infrared (FTIR) analysis. Three glasses with different sodium-potassium and manganese contents were studied. Significant differences in drying rates were observed in each of the samples, indicating a relationship between both the composition – either enriched with or without manganese – and the size of the glass particles added as siccatives. This FTIR approach highlights several complex mechanisms involved in the drying effect of glass powders mixed in paint layers. [ABSTRACT FROM AUTHOR]

Food adulteration which is economically motivated (i.e., food fraud) is an incentive for the development and application of new and fast detection methods/instruments. An example of a fast method that is extremely environmentally friendly is near-infrared spectroscopy (NIRS). Therefore, the goal of this research was to examine the potential of its application in monitoring the adulteration of blended sunflower/olive oils and to compare two types of NIRS instruments, one of which is a portable micro-device, which could be used to assess the purity of olive oil anywhere and would be extremely useful to inspection services. Both NIR devices (benchtop and portable) enable absorbance monitoring in the wavelength range from 900 to 1700 nm. Extra virgin oils (EVOOs) and "ordinary" olive oils (OOs) from large and small producers were investigated, which were diluted with sunflower oil in proportions of 1–15%. However, with the appearance of different salad oils that have a defined share of EVOO stated on the label (usually 10%), the possibilities of the recognition and manipulation in these proportions were tested; therefore, EVOO was also added to sunflower oil in proportions of 1–15%. The composition of fatty acids, color parameters, and total dissolved substances and conductivity for pure and "adulterated" oils were monitored. Standard tools of multivariate analysis were applied, such as (i) analysis of main components for the qualitative classification of oil and (ii) partial regression using the least square method for quantitative prediction of the proportion of impurities and fatty acids. Qualitative models proved successful in classifying (100%) the investigated oils, regardless of whether the added thinner was olive or sunflower oil. Developed quantitative models relating measured parameters with the NIR scans, resulted in values of R2 ≥ 0.95 and was reliable (RPD > 8) for fatty acid composition prediction and for predicting the percentage of the added share of impurity oils, while color attributes were less successfully predicted with the portable NIR device (RPD in the range of 2–4.2). Although with the portable device, the prediction potentials remained at a qualitative level (e.g., color parameters), it is important to emphasize that both devices were tested not only with EVOO but also with OO and regardless of whether proportions of 1–15% sunflower oil were added to EVOO and OO or EVOO and OO in the same proportions to sunflower oil. [ABSTRACT FROM AUTHOR]

Despite advances in conservation–restoration treatments, most surface cleaning tests are subjectively evaluated. Scores according to qualitative criteria are employed to assess results, but these can vary by user and context. This paper presents a range of cleaning efficacy and homogeneity evaluation metrics for appraising cleaning trials, which minimise user bias by measuring quantifiable changes in the appearance and characteristic spectral properties of surfaces. The metrics are based on various imaging techniques (optical imaging by photography using visible light (VIS); spectral imaging in the visible-to-near-infrared (VNIR) and shortwave infrared (SWIR) ranges; chemical imaging by Fourier transform infrared (FTIR) spectral mapping in the mid-infrared (MIR) range; and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX) element mapping). They are complemented by appearance measurements (glossimetry and colourimetry). As a case study showcasing the low-cost to high-end metrics, agar gel spray cleaning tests on exposed ground and unvarnished oil paint mock-ups are reported. The evaluation metrics indicated that spraying agar (prepared with citric acid in ammonium hydroxide) at a surface-tailored pH was as a safe candidate for efficacious and homogenous soiling removal on water-sensitive oil paint and protein-bound ground. Further research is required to identify a gel-based cleaning system for oil-bound grounds. [ABSTRACT FROM AUTHOR]

The study and conservation of a painting by Wasily Kandinsky, titled Spitz‐Rund and dated to 1925, was carried out at the Centro per la Conservazione ed il Restauro dei Beni Culturali "La Venaria Reale" 2018 and 2021. This work, owned by the Galleria d'Arte Moderna e Contemporanea of Bergamo (GAMeC), was created with oil paints on cardboard, and later glued onto a wooden support. A first phase of the project entailed a thorough scientific investigation of the artist's materials and techniques by means of a multi‐analytical approach, including both non‐invasive and micro‐invasive techniques. The present contribution discusses some of the most relevant results obtained from scientific analyses on Kandinsky's masterpiece. The painting stratigraphy and colour palette were investigated using multispectral imaging, spot XRF and in situ Raman analyses. Micro‐samples were also taken and analysed with FTIR spectroscopy, Py‐GC/MS, optical microscopy and SEM–EDX. Additional investigations using MA‐XRF provided further insight into the distribution of various chemical elements, proving essential to deepen our knowledge of the painting and to integrate the information obtained from other analytical techniques. The study highlighted several similarities between Spitz‐Rund and other Kandinsky's artworks and made it possible to gain a broader understanding of the artist's technique during the Bauhaus period (1922–1933). [ABSTRACT FROM AUTHOR]

The study of film-formation processes of oil paints has been extensively addressed over the last decade and the influence of metal ions in the drying and degradation stages of oil paints has been demonstrated. This research aimed to determine a suitable methodology for monitoring the early drying stages of selected commercial oil paint films and to gain an insight into the migration mechanisms of material degradation taking place between adjacent paint films, with special attention to the influence of the lead white. For this purpose, a hybrid approach was adopted to characterize the composition of the paint and highlight failure mechanisms in the paint films through a wide range of time. The methods included scribe tests, percentage weight variation (ΔW%), attenuated reflectance Fourier transform infrared spectrophotometry (ATR-FTIR), gas chromatography-mass spectrometry (GC-MS), and thermal analysis with differential scanning calorimetry (TG-DSC). The results show how metal ions interact with the oil binder and the pigment in the adjacent paint film: the transverse migration of lead white is shown to affect the reactivity of polyunsaturated triglycerides, increasing the rate of oxygen uptake and promoting the formation of radicals and bonds between polymer chains, depending on the pigment with which it interacts. [ABSTRACT FROM AUTHOR]

This paper investigates the oil on canvas painting Boat scene (1974) by Liu Kang (1911–2004), belonging to the National Gallery Singapore (NGS). The focus is on disfiguring paint protrusions in a specific area and colour in the composition. Moreover, in search of the possible factors responsible for the creation of the protrusions, the structure and composition of the paint layers were determined. Three possible reasons were put forward to explain this phenomenon: deliberate textural effects, the expansion of metal soaps and unintentional paint contamination during the artistic process. Investigative techniques such as technical photography, digital microscopy, optical microscopy (OM), polarised light microscopy (PLM), field emission scanning electron microscope (FE-SEM-EDS) and attenuated total reflectance micro-Fourier transform infrared spectroscopy (ATR μ-FTIR) were employed to analyse paint layers, including protrusion samples. The analyses revealed that the protrusions resulted from an unintentional contamination of the oil paint during the artistic process by dry fragments of different pigment mixtures bound in drying oil. Zinc soaps were found in significant concentrations within the protrusions and other parts of the painted scene. Nevertheless, the metal soaps do not pose a direct risk to the integrity of the paint layers at the time of this research. The analyses highlight the potential challenges caused by the protrusions that conservators may face while caring for the painting. The research contributes to our ongoing comprehension of the artist's working process. [ABSTRACT FROM AUTHOR]

This article discusses the controversial "Woman" series of paintings by Willem de Kooning. The author acknowledges that de Kooning's depictions of women have been criticized as misogynistic and vulgar by art critics. However, the author personally finds de Kooning's paintings sensual and inspirational, appreciating the thick layers of oil paint and bold colors. The article also explores the possible psychological motivations behind de Kooning's work, including his difficult relationship with his mother. Overall, the author suggests that de Kooning's paintings should be viewed as a creative expression of his own healing process rather than simply misogynistic. [Extracted from the article]

The fracture toughness in opening mode GIc for selected oil paints from Mecklenburg's Paint Reference Collection after approximately 30 years of natural ageing was determined using the procedure adopted from the ASTM D5528–13 standard in which double cantilever beam specimens are split in tensile tests. The careful reglueing procedure allowed multiple fracturing tests to be carried out that not only improved statistics of the measurements but also provided insight into the variation of the fracture toughness across the paint film observed for some paints. The latter was due to pigment sedimentation or chemical change of the oil binder as a result of the easier access of oxygen from the side open to the air. For the lead white paint, used over centuries both in paint films and oil grounds, the GIc values more than doubled from 18 to 39 J/m2 for three consecutive cracks formed at an increasing distance from one side of the paint film. The study demonstrated that fracture toughness corresponding to the first crack formation in aged oil paints ranged between 10 and 40 J/m2, relatively low values compared to the animal glue-based ground in paintings. In consequence, oil paints are more vulnerable to crack initiation and growth induced by tensile stress than the ground layer. The measurements filled the gap in the knowledge required for the analysis of fracturing or delamination processes in paintings. [ABSTRACT FROM AUTHOR]

The richly decorative and imaginative works by French artist Séraphine Louis (1864–1942) have long elicited fascination, and her working methods have often eluded art historians and conservators alike. Working in secret and outside established art circles, Séraphine employed materials such as natural resin varnishes and was said to have used household paints in addition to traditional artists' oil paints. In this study of six works in the collections of the Musée d'Art et d'Archéologie, Senlis (MAA), The Museum of Modern Art, New York (MoMA), and The Metropolitan Museum of Art, New York (MMA), attention was given to Séraphine's choice of colors and paints, in addition to identifying possible additions to or manipulations of painting media by the artist. Technical imaging was carried out using UVF to visualize the extent of Séraphine's use of natural resins. Analysis of the palette relied on XRF techniques and limited sampling for analysis by Raman and µ-FTIR spectroscopies. Overall, the following pigments were identified: lead white, zinc white, carbon-based black, red and brown ochres, umber, vermilion, alizarin lake, rhodamine B lake, Prussian blue, cobalt blue, ultramarine blue, chrome green, emerald green, viridian, cadmium yellow, and lead chromates, including chrome yellow deep and light, zinc yellow, and chrome orange. THM-Py-GCMS analysis of selected samples supported the documentary evidence of Séraphine's use of household oil paints; a single instance of a cellulose nitrate enamel paint was additionally determined by µ-FTIR. The chromatographic analysis also indicated a natural plant resin in her varnishes, probably dammar in combination with pine resin. Overall, this material investigation, accompanied by the art historical record, better reveals the techniques of an experimental painter whose works have come to epitomize French outsider artists of the early twentieth century. [ABSTRACT FROM AUTHOR]

• A coherent set of tubes and pots of oil paint from Simon Hantaï's studio was studied. • The study documents major phases of Hantaï's meticulous search into color. • Identification of unexpected additives and ever-evolving formulations encourage further research. • The formation of soaps in the samples themselves is demonstrated. • This palette is characteristic of the materials used by many artists in postwar Paris. [Display omitted] Simon Hantaï (1922–2008) was a highly influential postwar painter in Paris whose innovative serial practice, creative curiosity and theoretical convictions inspired a number of his contemporaries. His art media are typical of the period, consisting of commercial artists' products, sold in tubes and cans, which were available to artists in Europe and beyond. We have studied a series of samples from the brands Lefebvre-Foinet, Lefranc & Bourgeois and Valor using a combination of optical and electron microscopy, accelerator-mass spectrometry carbon-14 dating, infrared spectroscopy, structural analysis, chromatographic and mass spectrometry techniques. Of particular interest is the rare access to a coherent artist's studio collection and its dating in relation to the painter's works. We gained precise information on paint formulations, including main binders and pigments, as well as additives, such as free metal soaps, beeswax and pine resin. This suggests the value of further research into paint formulations and their identification in paintings from the second half of the 20th century. These materials were studied for their capacity as possible references for future analysis of the painter's artworks. The high degree of hydrolysis of the oil binder and alteration, notably by saponification, leads us to question the significance of these materials and the handling of the data generated towards comparative studies. These samples have a history; considering them as pristine references for comparative studies with the works of artists of the period cannot be done at the expense of their own materiality — and in particular their physico-chemical evolution over time in their specific environment [ABSTRACT FROM AUTHOR]

• Laser-induced effects were studied on oil paint films at wavelengths of 213, 266, and 2940 nm. • Laser-induced effects were quantitatively characterized by DR-FTIR and µRaman analyses. • At the damage threshold, surface changes were greater at 2940 nm than at 213 and 266 nm. • The amount of oil binder in the paint films plays a protective role against pigment discoloration. • The proposed approach can be reliably used to characterize cleaning treatments of paintings. Removal of aged varnish layers from easel paintings is a challenging task requiring methodologies capable of preventing any alteration of the underlying painted surface. Laser-ablation approaches using the fourth and fifth harmonics of a Q-Switched Nd:YAG (266 and 213 nm, 15 ns) and Free-Running Er:YAG laser (2940 nm, 160 µs pulses) can allow for very thin removal rates but their discrimination of the underlying paint film and self-termination potential are very limited. Thus, there is a need to develop suitable analytical methods for promptly identifying the possible occurrence of any undesired effect on the paint layer beneath the varnish, which is intentionally or unintentionally irradiated during the laser thinning treatment. Such side effects depend on the irradiation parameters and the specific material features of the pictorial film. Linseed oil paint models were prepared using lead white, vermilion, chrome yellow, ultramarine, Prussian blue and zinc white. Two distinct pigment volume concentrations (PVC) were used to investigate the dependence of the laser-induced alterations on oil binder volume ratio: low PVC (gloss paint) and high PVC (matte paint). After determining threshold exposure limits for each laser wavelength, laser-induced effects slightly above the threshold fluence were qualitatively and quantitatively assessed using FTIR and µ-Raman spectroscopies. Results showed that IR-reflectance bands of glossy and matte films exhibited appreciable shifts and distortion upon laser irradiation while reductions of the signal-to-background ratio were observed in µRaman spectra. The developed method, based on the processing of a number of spectral acquisitions, enabled for the first time the quantitative assessment and comparison of the corresponding undesired laser-induced effects in the outermost painted layer. [ABSTRACT FROM AUTHOR]

Nora Chapa Mendoza, a Chicana artist, was born in Texas in 1932 and overcame societal norms and cultural barriers to pursue her passion for art. Her work focuses on Hispanic and Indigenous life, immigration, and women, and she has been an artist-activist throughout her career, supporting civil rights initiatives for Chicana/os, American Indians, and women. Mendoza opened Galeria Mendoza, the first Latin American art gallery in Detroit, in 1981, but eventually closed it due to safety concerns. She continues to teach art and has gained international recognition for her paintings depicting migrant workers, which aim to bring dignity to their lives and raise awareness about their conditions. [Extracted from the article]

By modifying the structure of pyridoxal phosphate, an "on–off" rhodamine fluorescent probe LPDQ with a new structure was synthesized. NMR, IR, and mass spectrometries characterized the structures of the probes. The LPDQ–Zn2+ system had been successfully constructed by the characteristic absorption peaks of the ultraviolet spectrum, and the experiments were carried out to investigate the ion fluorescence selectivity, cell imaging, reversibility, ion concentration, linear range, precision, and accuracy. The LPDQ reached the detection limit of 0.8 × 10−6 mol/l at 1 × 10−5–8.5 × 10−5 mol/l. The content of Zn2+ in the zinc gluconate sample was determined. According to the experimental data, the fluorescent probe LPDQ in this experiment has good performance and can be used to detect Zn2+ in water and oil paintings. [ABSTRACT FROM AUTHOR]

This article examines the use of color in taxidermy at the Qing court in the 18th century. The court utilized various coloring techniques to bring life to inanimate forms, using synthetic materials to mimic the essence of life. Examples include taxidermized animal displays and mechanical devices adorned with colorful skins and feathers. The court's fascination with color and its transformative power highlights the belief that color is the essence of life. The article emphasizes the importance of coloration in preserving and enhancing the vibrancy of these artifacts over time. The text also provides a list of references and citations for further research on related topics such as the preservation of leather artifacts, the study of Manchu language, and the production of Buddhist costumes in the Qing Palace. [Extracted from the article]

The study of advanced nanofluids termed as Tetra nanofluid is of potential interest now a days. These fluids are upgraded generation of conventional nano to ternary hybrid nanofluids with outstanding characteristics. Applications of this class frequently occur in applied thermal engineering, nano‐lubrication, chemo‐therapy, chemical engineering, oil paint industry, coolant of nuclear plant and many other applied research areas. This study concerns with the development of innovative thermophysical rules for Tetra Hybrid nanofluid and their utilization in advanced heat transfer model. The governing laws updated through addition of thermal condition, dissipation effects, thermal radiations and upgraded nanofluid properties. Finally, the Blasius and Sakiadis model achieved and analyzed the heat transfer trends through numerical technique. Keen analysis of the drawn results show that Blasius model has much ability to transfer the heat than Sakiadis model. Induction of thermal radiations, dissipation effects and thermal convective condition is like a catalysis in the study of advanced tetra nanofluid model and boosts the temperature. [ABSTRACT FROM AUTHOR]

This article discusses a case series of occupational acne, specifically focusing on chloracne. Occupational acne is caused by various environmental agents and is characterized by the sudden appearance of comedones, papules, and cysts on the face and other parts of the body. Chloracne, a subset of occupational acne, is caused by the absorption of aromatic hydrocarbons. The article presents four cases of occupational acne, highlighting the importance of occupational history in diagnosing and treating such cases. The article also discusses the clinical presentation, histopathological features, and treatment options for chloracne. [Extracted from the article]

Abstract A framework was developed to evaluate and compare cleaning systems and cleaning system delivery methods, collectively referred to as varnish removal methods, within art conservation practice. This framework was applied to two water-based cleaning systems, optimised for the removal of dammar varnish from an artificially aged brown earth oil paint, including the surfactant-containing microemulsion, Polar Coating B (from the Nanorestore Cleaning series) delivered via the chemical gel, Higher Water Retention (HWR) (from the Nanorestore Gel Dry series), and a surfactant-free microemulsion delivered via the microfiber cloth, Evolon. In addition, two water-based systems and one organic solvent were used to remove dammar varnish from an artificially aged lead white oil paint sample, including a xanthan gum-stabilised emulsion delivered via a synthetic brush, a surfactant-free microemulsion delivered via cotton swab rolling, and 2-propanol solvent delivered via cotton swab rolling. The evaluation framework was thus applied to two different oil paints, with different sensitivities to cleaning. Through this work, the comparative advantages and disadvantages of the varnish removal methods were demonstrated. Notably, cleaning system compatibility with multiple delivery methods afforded greater versatility, including for reducing unwanted interactions between the cleaning system and oil paint. In addition, a surfactant-free microemulsion proved to be a promising, clearance-free, inexpensive, and modifiable option within current offerings for largely water-based methods for varnish removal.