Carrier-based ion-selective electrodes and bulk optodes. 2. Ionophores for potentiometric and optical sensors

We review the current state of optical methods for sensing oxygen. These have become powerful alternatives to electrochemical detection and in the process of replacing the Clark electrode in many fields. The article (with 694 references) is divided into main sections on direct spectroscopic sensing of oxygen, on absorptiometric and luminescent probes, on polymeric matrices and supports, on additives and related materials, on spectroscopic schemes for read-out and imaging, and on sensing formats (such as waveguide sensing, sensor arrays, multiple sensors and nanosensors). We finally discuss future trends and applications and summarize the properties of the most often used indicator probes and polymers. The ESI† (with 385 references) gives a selection of specific applications of such sensors in medicine, biology, marine and geosciences, intracellular sensing, aerodynamics, industry and biotechnology, among others.

/pdf/optical-methods-for-sensing-and-imaging-oxygen-materials-2e0wvh0smm.pdf

Optical methods for sensing and imaging oxygen: materials, spectroscopies and applications

Microbiological deterioration and degradation of synthetic polymeric materials: recent research advances

Multispectral imaging has been applied to the field of art conservation and art history since the early 1990s. It is attractive as a non-invasive imaging technique because it is fast and hence capable of imaging large areas of an object giving both spatial and spectral information. This paper gives an overview of the different instrumental designs, image processing techniques and various applications of multispectral and hyperspectral imaging to art conservation, art history and archaeology. Recent advances in the development of remote and versatile multispectral and hyperspectral imaging as well as techniques in pigment identification will be presented. Future prospects including combination of spectral imaging with other non-invasive imaging and analytical techniques will be discussed.

/pdf/advances-in-multispectral-and-hyperspectral-imaging-for-34fxwu5b9k.pdf

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

Continuous monitoring of oxygen concentration is of great importance in many different areas of research which range from medical applications to food packaging. In the last three decades, significant progress has been made in the field of optical sensing technology and this review will highlight the one inherent to the development of oxygen indicators. The first section outlines the bioanalytical fields in which optical oxygen sensors have been applied. The second section gives the reader a comprehensive summary of the existing oxygen indicators with a critical highlight on their photophysical and sensing properties. Altogether, this review is meant to give the potential user a guide to select the most suitable oxygen indicator for the particular application of interest.

/pdf/indicators-for-optical-oxygen-sensors-1stqfmpvda.pdf

Indicators for optical oxygen sensors.

From classical times to the present day, pigments containing cobalt(II) have played an intermittent role. The most important cobalt blue pigments were smalt and Thenard's blue. In the present work, fibre optics reflectance spectroscopy (FORS) is proposed as a totally non-destructive method for the detection of cobalt(II) pigments in the visible and near infrared regions. This technique has been applied to the identification of cobalt(II) in a sixteenth-century wall painting and two fifteenth-century glass windows.

Non-destructive spectroscopic detection of cobalt(ii) in paintings and glass

Fiber optic reflectance spectroscopy in the 270–1700 nm range was used to identify white pigments typically used in 20th-century paintings and as restoration materials, such as lead white, zinc white, titanium white in the two crystalline forms anatase and rutile, lithopone, and kaolin. Use of the non-invasive, in situ technique was undertaken in accordance with the principles of minimum intervention, which guide the restoration and conservation of artworks. With this technique, a suitable spectroscopic database of the pigments was first created, using various instrumental set-ups. Subsequently, fiber optic reflectance spectroscopy was applied to the study of two paintings from the Galleria di arte moderna, Palazzo Pitti, Florence: Mercato by Elisabeth Chaplin, dating probably from the 1920s, and Renaioli, painted in 1950 by Bruno Rosai. The purpose was to better understand the evolution of the use of such white pigments during the past century, and also to provide useful information concerning qu...

Non-Invasive Identification of White Pigments on 20Th-Century Oil Paintings by Using Fiber Optic Reflectance Spectroscopy

In recent years physical and chemical investigations on works of art have significantly grown both for obtaining information on the materials and techniques used by the artist, and for developing useful guidelines on restoration. The main difficulty, which is encountered when precious and unique objects are examined, involves performaing measurements in the safest way possible for the object. Therefore, we proposed, as the principal objective of our research, the development of totally non-destructive methodologies of investigation. Fibre optics reflectance spectroscopy (FORS), where fibre optics is simply used as an intrinsic optrode, is particularly suitable for our purposes, because it allows recording of reflectance spectra up to more than 2.0 μm without any damage to the art work, and therefore offering the possibility of a large sampling. This last point is particularly interesting in comparison to the common microanalytic procedures, which, on the contrary, can only work on a few samples at a time. We used FORS as a powerful tool for: (a) pigment identification by means of a correlation analysis with a ‘palette’ appropriately prepared in a laboratory; (b) analysis of colour changes induced in paintings by the environment; and (c) documentation of the colour before and after restoration. As an example, we report the results of our investigations on paintings of the Middle Ages and the early Renaissance (Giotto, Masaccio, Luca Signorelli).

Fibre optics applications to works of art

collection of the Los Angeles County Museum of Art. UV-visible spectroscopy and Raman microspectroscopy, together with complementary techniques such as Fourier transform infrared microspectroscopy, reveal significant differences between spectra of indigo as pure crystalline solid or as complexed by palygorskite. These techniques are thus extremely specific, being able to identify Maya blue as a prepared pigment rather than detecting only its ingredients, indigo and palygorskite. Fiber optics UVvisible reflectance spectroscopy and Raman microspectroscopy present the additional advantage of being completely noninvasive and therefore suitable for the study of works of art. Lightweight portable fiber optics UV-visible reflectance spectroscopy devices make it possible to perform measurements in situ on wall paintings and other immovable objects. The spectral differences between pure indigo and the indigo-palygorskite complex can be interpreted in terms of different hydrogen bonding configurations for the indigo molecule.

Identification of the pre-columbian pigment maya blue on works of art by noninvasive uv-vis and raman spectroscopic techniques

About one hundred significant spots (area = 0.5 cm2) that were homogeneously colored were selected on the frescoes "Resurrection of the son of Teofilo," "Saint Peter in pulpit," and "Saint Peter heals invalids by his shadow" in the Brancacci Chapel (Chiesa del Carmine, Florence). The reflectance spectra of these spots were recorded before and after restoration with the use of an external integrating sphere, which was connected through optical fibers to a UV/visible spectrophotometer, and the data were stored in a personal computer. Spectrophotometric investigations were also performed on small samples of frescoes, which were appropriately prepared, in a laboratory, with pure pigments. The results we obtained are discussed in the light of our main purposes: (1) to achieve nondestructive identification of pigments; (2) to help create time-unalterable color archives; (3) to establish a method for monitoring eventual color changes; and finally (4) to obtain useful information for the fields of art restoration and art history.

A color analysis of the brancacci chapel frescoes

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