Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the other class of luminescent pigments, namely the phosphorescent ones, is now produced industrially. The peculiar optical properties of these pigments have attracted more and more the attention of famous artists since the middle of the last century. The Italian Black Light Art movement exploits the possibility of conveying different aesthetical messages depending on the kind of radiation (UV or visible) with which the artwork is illuminated. In the present work, a non‐invasive in‐situ investigation based on Raman, fluorescence, and visible‐reflectance spectroscopies was performed on a series of Black Light Art paintings exhibited in Milan (Italy) in 2017, succeeding in the identification of the materials used by the artists. In particular, the use of both fluorescent and phosphorescent pigments, alone or combined with conventional synthetic organic pigments, has been recognized.

Special-Effect and Conventional Pigments in Black Light Art: A Multi-Technique Approach to an In-Situ Investigation / M. Longoni, S. Francone, M. Boscacci, D. Sali, I. Cavaliere, V. Guglielmi, S. Bruni. - In: MATERIALS. - ISSN 1996-1944. - 15:19(2022), pp. 6671.1-6671.20. [10.3390/ma15196671]

Special-Effect and Conventional Pigments in Black Light Art: A Multi-Technique Approach to an In-Situ Investigation

M. Longoni
Primo
;
V. Guglielmi
Penultimo
;
S. Bruni
Ultimo
2022

Abstract

Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the other class of luminescent pigments, namely the phosphorescent ones, is now produced industrially. The peculiar optical properties of these pigments have attracted more and more the attention of famous artists since the middle of the last century. The Italian Black Light Art movement exploits the possibility of conveying different aesthetical messages depending on the kind of radiation (UV or visible) with which the artwork is illuminated. In the present work, a non‐invasive in‐situ investigation based on Raman, fluorescence, and visible‐reflectance spectroscopies was performed on a series of Black Light Art paintings exhibited in Milan (Italy) in 2017, succeeding in the identification of the materials used by the artists. In particular, the use of both fluorescent and phosphorescent pigments, alone or combined with conventional synthetic organic pigments, has been recognized.
fluorescent pigments; phosphorescent pigments; synthetic organic pigments; contemporary painting; in‐situ analysis; Raman spectroscopy; spectrofluorimetry; visible reflectance spectroscopy
Settore CHIM/01 - Chimica Analitica
Settore CHIM/12 - Chimica dell'Ambiente e dei Beni Culturali
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2434/939999
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