https://doi.org/10.1140/epjp/s13360-022-02423-1
Regular Article
An in-and-out-the-lab Raman spectroscopy study on street art murals from Reggio Emilia in Italy
1
Raman Spectroscopy Research Group, Department of Chemistry, Ghent University, Krijgslaan 281 (S-12), 9000, Ghent, Belgium
2
Archaeometry Research Group, Department of Archaeology, Ghent University, Sint-Pietersnieuwstraat 35, 9000, Ghent, Belgium
3
AN.T.A.RES srl, Via Aldo Moro, 24/a, 40068, San Lazzaro di Savena, BO, Italy
4
CESMAR7- Centro per lo Studio dei Materiali Per il Restauro APS, Viale dei Mille 32, 42121, Reggio Emilia, Italy
5
ICCOM-CNR, Institute of Chemistry of Organometallic Compounds, National Research Council, Via G. Moruzzi, 1, 56124, Pisa, Italy
6
Dipartimento di Scienze Matematiche, Fisiche e Informatiche, Università di Parma, Parco Area delle Scienze 7/A, 43124, Parma, Italy
Received:
8
July
2021
Accepted:
25
January
2022
Published online:
21
February
2022
The street art murals ‘The Big Mother’ by Gola Hundun, the ‘Big Sacral Bird’ by Kenor, the ‘Oriental Carpet” by H101 and “The Economy Subdues You” by Zosen, belonging to the Cooperative Popular Houses of Mancasale and Coviolo in Reggio Emilia (Italy), were investigated by the use of various mobile Raman spectrometers coupled to different lasers and by micro-Raman spectroscopy on selected samples. The study was made necessary by the evident fading of many colours, despite the young age of the paintings, realized in 2010. The first step of the investigation, realized by the on-site campaign, was the identification of the materials, and in particular of the dyes. The main chromophores were identified as polycyclic, monoazo- and disazo- organic pigments, with inorganic compounds as bismuth vanadate (BiVO4) together with the extensive presence of rutile (TiO2). The second step was devoted to the study of the degradation mechanism affecting the colourful layers of the murals. It required the use of laboratory micro-spectrometers and was carried out on a reduced set of samples, selected during the in-situ campaign. This combination of on-site and laboratory Raman spectroscopy allowed the obtaining of the complete identification of the palette used by the different artists in a single day of measurements, in a complete non-destructive day. In addition, it was possible to minimize the number of samples required for the study of the degradation process.
Supplementary Information The online version contains supplementary material available at https://doi.org/10.1140/epjp/s13360-022-02423-1.
© The Author(s) 2022
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