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Chemistry and Mechanism of Art Materials: Unsuspected Properties and Outcomes [Pehme köide]

(Western Connecticut State University, Chemistry Dept.)
  • Formaat: Paperback / softback, 172 pages, kõrgus x laius: 234x156 mm, kaal: 349 g, 20 Tables, black and white; 11 Line drawings, color; 106 Line drawings, black and white; 26 Halftones, color; 1 Halftones, black and white; 37 Illustrations, color; 107 Illustrations, black and white
  • Ilmumisaeg: 28-Dec-2021
  • Kirjastus: CRC Press
  • ISBN-10: 0367513455
  • ISBN-13: 9780367513450
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Chemistry and Mechanism of Art Materials: Unsuspected Properties and OutcomesSuurem pilt
  • Formaat: Paperback / softback, 172 pages, kõrgus x laius: 234x156 mm, kaal: 349 g, 20 Tables, black and white; 11 Line drawings, color; 106 Line drawings, black and white; 26 Halftones, color; 1 Halftones, black and white; 37 Illustrations, color; 107 Illustrations, black and white
  • Ilmumisaeg: 28-Dec-2021
  • Kirjastus: CRC Press
  • ISBN-10: 0367513455
  • ISBN-13: 9780367513450
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Märksõnad:
This unique book presents an integrated approach to the chemistry of art materials, exploring the many chemical processes involved. The Chemistry and Mechanism of Art Materials: Unsuspected Properties and Outcomes engages readers with historical vignettes detailing examples of unexpected outcomes due to materials used by known artists.

The book discusses artists materials focusing on relevant chemical mechanisms which underlie the synthesis and deterioration of inorganic pigments in paintings, the ageing of the binder in oil paintings, and sulfation of wall paintings as well as the toxicology of these pigments and solvents used by artists. Mechanisms illustrate the stepwise structural transformation of a variety of art materials.

Based on the authors years of experience teaching college chemistry, the approach is descriptive and non-mathematical throughout. An introductory section includes a review of basic concepts and provides concise descriptions of analytical methods used in contemporary art conservation.

Additional features include:











Illustrations of chemical reactivity associated with art materials





Includes a review of chemical bonding principles, redox and mechanism writing





Covers analytical techniques used by art conservation scientists





Accessible for readers with a limited science background





Provides numerous references for readers seeking additional information
List of Figures ix
List of Schemes xvii
List of Tables xxi
Preface xxiii
Acknowledgments xxv
Author xxvii
List of Abbreviations xxix
Chapter 1 Essential Concepts 1(16)
1.1 Chemical Bonding
1(3)
1.2 Oxidation-Reduction, Oxidation Numbers
4(1)
1.3 Hard and Soft Acid Base Theory
5(1)
1.4 Writing Chemical Reaction Mechanisms
6(1)
1.5 Experimental Methods Used to Characterize Works of Art
7(7)
1.5.1 X-Ray Spectroscopic Methods
7(5)
1.5.2 Electron Microscopy
12(1)
1.5.3 Vibrational Spectroscopy
13(1)
1.5.4 Electrochemical Methods
13(1)
References
14(3)
Chapter 2 Preparation of Inorganic Pigments Used by Artists 17(40)
2.1 Black Pigments
17(2)
2.2 Blue Pigments
19(11)
2.2.1 Prussian Blue as Antidote
23(7)
2.3 Brown Pigments
30(1)
2.3.1 Brown Iron (III) Oxide Pigments
30(1)
2.4 Green Pigments
31(5)
2.5 Red Pigments
36(3)
2.5.1 Red Iron (III) Oxide Pigments
38(1)
2.6 Violet Pigments
39(1)
2.7 White Pigments
39(4)
2.8 Yellow Pigments
43(8)
2.8.1 Yellow Iron (III) Oxide,_FeO(OH), Goethite
45(6)
References
51(6)
General
51(1)
Antimony Black
51(1)
Carbon Black
52(1)
Cobalt Black
52(1)
Iron Oxide, Magnetite
52(1)
Manganese Black
52(1)
Azurite
52(1)
Cerulean Blue
52(1)
Egyptian Blue
52(1)
Prussian Blue
53(1)
Ultramarine
53(1)
Verdigris
53(1)
Chromium Oxide
53(1)
Paris Green, Emerald Green
54(1)
α-Cinnabar, Vermilion
54(1)
Red Lead
54(1)
Iron (III) Oxide Pigments: Red, Yellow, Brown
55(1)
Cobalt Violet
55(1)
Antimony White
55(1)
Titanium White
55(1)
Lead White
55(1)
Bismuth Vanadate
55(1)
Cadmium Pigments
55(1)
Cobalt Yellow
55(1)
Lead Chromate
55(1)
Lead Tin Yellows and Naples Yellow
56(1)
Lead Monoxide
56(1)
Orpiment and Realgar
56(1)
Titanium Yellow
56(1)
General
56(1)
Chapter 3 Silica, Silicates and Aluminosilicates 57(6)
3.1 Silica
57(1)
3.2 Silicates
57(1)
3.3 Pigment - Silicate Interactions
58(1)
3.4 Ceramic Glaze
59(1)
3.5 Aluminosilicates
60(1)
References
61(2)
Silica, Silicates and Aluminosilicates
61(2)
Chapter 4 Discoloration Stories 63(38)
4.1 Red Lead Discoloration
65(3)
4.1.1 Role of Photo-Semiconductor Pigments in Degradation of Organic Material
67(1)
4.1.2 Red Lead Degradation in Wall Paintings
67(1)
4.2 Discoloration of Cadmium Yellow
68(3)
4.3 Blackening of Cinnabar in Wall Paintings
71(2)
4.4 Light-Induced Rearrangement of Realgar
73(4)
4.4.1 Raman Spectra of a-Realgar and Para-Realgar
76(1)
4.5 Browning of Chrome Yellow
77(2)
4.6 Blackening of Hematite in Wall Painting of Pompeian House
79(3)
4.7 General Blackening of Pigments by H2S
82(1)
4.8 Smalt Discoloration
82(2)
4.9 Ultramarine Disease
84(5)
4.9.1 Chemical Change in the Pigment
85(1)
4.9.2 Chromophore Destruction
85(2)
4.9.3 Zeolites
87(1)
4.9.4 Degradation of the Oily Binder
87(2)
4.10 Azurite and Malachite
89(3)
4.10.1 Malachite to Moolooite
91(1)
4.11 Prussian Blue Fading
92(1)
4.12 Browning of Silverpoint Drawings
93(1)
4.13 Tarnishing of Silver
94(1)
4.14 Environmental Factors and Pigment Stability
95(1)
References
95(6)
Semiconductor Pigments
95(1)
Red Lead
95(1)
Cadmium Yellow
95(1)
Cinnabar
96(1)
Realgar
96(1)
Chrome Yellow
96(1)
Hematite
97(1)
Blackening by H2S
97(1)
Smalt
97(1)
Ultramarine
97(1)
Azurite and Malachite
98(1)
Prussian Blue
98(1)
Silverpoint
99(1)
Silver Tarnish
99(1)
Stability of Inorganic Artists' Pigments
99(2)
Chapter 5 Toxicology of Art Materials 101(40)
5.1 Organic Compounds
102(13)
5.1.1 Methylene Chloride
102(1)
5.1.2 Carbon Tetrachloride and Chloroform
103(1)
5.1.3 Trichloroethylene
104(2)
5.1.4 n-Hexane
106(1)
5.1.5 Aromatic Solvents
107(1)
5.1.6 Di isocyanates
108(2)
5.1.7 N-Methylpyrrolidone and N-Ethylpyrrolidone
110(1)
5.1.8 Alcohols, Glycols and Glycol Ethers
111(2)
5.1.9 Mineral Spirits
113(1)
5.1.10 Turpentine
114(1)
5.2 Inorganic Materials
115(19)
5.2.1 Lead
116(2)
5.2.2 Zinc, Cadmium and Mercury Familial Properties
118(1)
5.2.3 Cadmium
119(3)
5.2.4 Mercury
122(2)
5.2.4.1 Does Bacterial Methylation Occur in the Human Gut?
123(1)
5.2.4.2 Dimethylmercury
123(1)
5.2.5 Silver
124(2)
5.2.6 Arsenic
126(4)
5.2.7 Chromium
130(2)
5.2.8 Silica Dust
132(2)
References
134(7)
Artists Self Poisoning Occupational Hazard
134(1)
Organics
134(1)
Aromatic Solvents
135(1)
Alcohols, Glycols and Glycol Ethers
135(1)
Mineral Spirits
136(1)
Turpentine
136(1)
Inorganics
136(1)
Lead
136(1)
Zinc, Cadmium, Mercury Family
137(1)
Cadmium
137(1)
Mercury
137(1)
Silver
137(1)
Arsenic
138(1)
Chromium
139(1)
Silica Dust
139(2)
Chapter 6 Aging of Oil Paint Binder 141(16)
6.1 Main Features of the Model for Aging Oil Paint
143(2)
6.2 IR Spectra of Metal Soaps
145(2)
6.3 Metal Soap Aggregation: Model System
147(1)
6.4 Autoxidative Reactions Leading to Chain Scission and Cross-Linking in Oil Paint
148(1)
6.5 Metal Oxalates in Oil Paint
149(4)
6.6 Photocatalytic Role of TiO2 in Degradation of Oil Paint
153(1)
References
154(3)
Chapter 7 Aging of Wall Paintings 157(8)
7.1 Reversal of Sulfation by the Ferroni-Dini Method
158(2)
7.2 Influence of Water-Soluble Salts
160(1)
7.3 Degradation of Oil Binder
161(2)
References
163(2)
Index 165
Michael Malin received a BS from City College of New York and a Ph.D. from Rutgers (Biochemistry). This was followed by postdoctorals at Rutgers (Organic) and then Brandeis (Bio-organic). He taught chemistry at Western Connecticut State College/University (16 years) and at Sarah Lawrence College (2 years). He covered courses in general, organic and biochemistry. At SLC, he taught a course in the chemistry of art materials, and this book came out of that experience. When not teaching, he was employed by Technicon Instruments Corporation/Bayer Diagnostics for 23 years. His role was generally to solve stability problems related to both liquid reagent formulations and machine parts in the development of automated blood analyzers. The scope of these problems varied widely; from the instability of a photo-polymerizable acrylic adhesive to the erosion of alumina shear valves. When he left industry, he resumed thinking about art materials, and found common chemical/mechanistic themes relating to stability problems. Eventually, this book was the result. His hobbies include: international travel, playing double bass in jazz groups, salsa dancing and cycling.