Unraveling Color Transformation and Material Degradation in Munch's Artworks: Ultramarine Blue and Cobalt Blue Industrial Oil Paints

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dc.contributor.advisor Izzo, Francesca Caterina it_IT
dc.contributor.author Boracchi, Beatrice Giorgia <1999> it_IT
dc.date.accessioned 2023-09-29 it_IT
dc.date.accessioned 2024-02-21T12:18:18Z
dc.date.issued 2023-10-23 it_IT
dc.identifier.uri http://hdl.handle.net/10579/25547
dc.description.abstract This thesis project has its start in the fruitful collaboration between Ca’ Foscari University and MUNCH, the Oslo’s Museum dedicated to the famous Norwegian expressionist Edvard Munch, under the framework of Erasmus+ Internship programme. Moving from the necessity of understanding the dynamics regulating darkening and degradation phenomena of Ultramarine and Cobalt blue- based oil paints in three real case studies by Edvard Munch (namely, Old Man in Warnemunde, The Drowned Boy and The Death of the Bohemian), 20 oil paint tubes from Edvard Munch’s material collection owned by MUNCH were investigated , together with the case studies themselves. After an in-depth review of the conditions and previously performed studies on the selected paintings, a multi-analytical approach was adopted, involving non-invasive (Hirox 3D microscope, pXRF, performed inside MUNCH’s facilities) and micro-invasive (ATR-FTIR, micro-Raman, GC-MS, performed at Ca’ Foscari University) techniques. The objective was to determine the composition of these industrial blue oil paints, identify any resemblances in composition from paints’ samples to real case studies, and examine the potential implications for the observed darkening in the paintings. Binding media admixtures, pigments and additives present in the manufactured formulations were assessed. The samples from both the paintings and industrial paints displayed intricate mixtures, featuring a significant presence of additives such as non-drying or partially drying oils, metal soaps, and preservatives. Additionally, the industrial paint tubes contained extenders, among others clay minerals, white and other blue pigments. In certain instances, the compositions diverged from what was indicated on the labels. Hypothesis regarding the possible cause of the deterioration mechanisms observed in Cobalt blue and Ultramarine blue paints was presented, and future perspectives outlined. it_IT
dc.language.iso en it_IT
dc.publisher Università Ca' Foscari Venezia it_IT
dc.rights © Beatrice Giorgia Boracchi, 2023 it_IT
dc.title Unraveling Color Transformation and Material Degradation in Munch's Artworks: Ultramarine Blue and Cobalt Blue Industrial Oil Paints it_IT
dc.title.alternative Unraveling Color Transformation and Material Degradation in Munch's Artworks: Ultramarine Blue and Cobalt Blue Industrial Oil Paints it_IT
dc.type Master's Degree Thesis it_IT
dc.degree.name Conservation science and technology for cultural heritage it_IT
dc.degree.level Laurea magistrale it_IT
dc.degree.grantor Dipartimento di Scienze Ambientali, Informatica e Statistica it_IT
dc.description.academicyear LM_2022/2023_sessione-autunnale it_IT
dc.rights.accessrights embargoedAccess it_IT
dc.thesis.matricno 892567 it_IT
dc.subject.miur CHIM/12 CHIMICA DELL'AMBIENTE E DEI BENI CULTURALI it_IT
dc.description.note This thesis project has its start in the fruitful collaboration between Ca’ Foscari University and MUNCH, the Oslo’s Museum dedicated to the famous Norwegian expressionist Edvard Munch, under the framework of Erasmus+ Internship programme. Moving from the necessity of understanding the dynamics regulating darkening and degradation phenomena of Ultramarine and Cobalt blue- based oil paints in three real case studies by Edvard Munch (namely, Old Man in Warnemunde, The Drowned Boy and The Death of the Bohemian), 20 oil paint tubes from Edvard Munch’s material collection owned by MUNCH were investigated , together with the case studies themselves. After an in-depth review of the conditions and previously performed studies on the selected paintings, a multi-analytical approach was adopted, involving non-invasive (Hirox 3D microscope, pXRF, performed inside MUNCH’s facilities) and micro-invasive (ATR-FTIR, micro-Raman, GC-MS, performed at Ca’ Foscari University) techniques. The objective was to determine the composition of these industrial blue oil paints, identify any resemblances in composition from paints’ samples to real case studies, and examine the potential implications for the observed darkening in the paintings. Binding media admixtures, pigments and additives present in the manufactured formulations were assessed. The samples from both the paintings and industrial paints displayed intricate mixtures, featuring a significant presence of additives such as non-drying or partially drying oils, metal soaps, and preservatives. Additionally, the industrial paint tubes contained extenders, among others clay minerals, white and other blue pigments. In certain instances, the compositions diverged from what was indicated on the labels. Hypothesis regarding the possible cause of the deterioration mechanisms observed in Cobalt blue and Ultramarine blue paints was presented, and future perspectives outlined. it_IT
dc.degree.discipline it_IT
dc.contributor.co-advisor it_IT
dc.date.embargoend 2025-02-20T12:18:18Z
dc.provenance.upload Beatrice Giorgia Boracchi (892567@stud.unive.it), 2023-09-29 it_IT
dc.provenance.plagiarycheck Francesca Caterina Izzo (fra.izzo@unive.it), 2023-10-16 it_IT


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