揭示爱德华·蒙克的《呐喊》中的纳米粒子成分，以及对20世纪早期标志性艺术品中油漆改变的影响
Revealing the nanoparticle composition of Edvard Munch's The Scream, and implications for paint alteration in iconic early 20th century artworks
摘要：
对艺术品进行科学研究的一个主要动机是了解它们的保存状态和正在进行的退化机制。这使得能够为不可替代的作品制定保护战略。强烈色调的硫化镉（CdS）黄色颜料特别令人感兴趣，因为这些是19世纪末和20世纪初许多重要大师调色板的关键，包括文森特·梵高，巴勃罗·毕加索，亨利·马蒂斯和爱德华·蒙克。随着这些画作的老化，它们的镉黄颜料正在经历严重的褪色、剥落和变色。这些效应与光降解、CdS与氧气、水分甚至油漆结合介质的光促进反应有关。使用普通的光学和X射线方法来表征颜料的物理状态是具有挑战性的，因为颜料的各种组分在小于其分辨率的长度尺度上混合。在这里，我们提出了一个原子尺度的结构和化学分析的CdS颜料在爱德华蒙克的尖叫（c。1910年，蒙克博物馆），使新的电子显微镜检测器技术。我们发现，CdS颜料由直径约5-10 nm的缺陷纳米粒子簇组成。从这种颗粒在生物制品中的现代使用中已知，它们固有地易受光降解的影响。氯掺杂和多型晶体结构进一步增强了CdS颜料对光降解的敏感性。除了《呐喊》之外，我们还在亨利·马蒂斯的《花件》（1906年，巴恩斯基金会）中观察到了这种固有的不稳定颜料结构。对颜料的纳米级结构和杂质的基本理解现在可以用来预测哪些画作最容易受到光氧化的影响，并指导标志性杰作最有效的保护策略。
英文摘要：
A major motivation for the scientific study of artworks is to understand their states of preservation and ongoing degradation mechanisms. This enables preservation strategies to be developed for irreplaceable works. Intensely-hued cadmium sulphide (CdS) yellow pigments are of particular interest because these are key to the palettes of many important late 19th and early 20th century masters, including Vincent Van Gogh, Pablo Picasso, Henri Matisse, and Edvard Munch. As these paintings age, their cadmium yellow paints are undergoing severe fading, flaking, and discolouration. These effects are associated with photodegradation, the light-facilitated reactions of CdS with oxygen, moisture, and even the paint binding medium. The use of common optical and X-ray methods to characterize the physical state of the pigment is challenging due to the mixing of the various components of the paint at length scales smaller than their resolution. Here, we present an atomic-scale structural and chemical analysis of the CdS pigment in Edvard Munch's The Scream (c. 1910, Munch Museet), enabled by new electron microscope detector technologies. We show that the CdS pigment consists of clusters of defective nanoparticles ~5-10 nm in diameter. It is known from the modern use of such particles in photocatalysis that they are inherently vulnerable to photodegradation. Chlorine doping and a polytype crystal structure further enhance the sensitivity of the CdS pigment to photodegradation. In addition to The Scream, we have also observed this inherently unstable pigment structure in Henri Matisse's Flower Piece (1906, Barnes Foundation). The fundamental understanding of the pigments' nanoscale structures and impurities described here can now be used to predict which paintings are most at risk of photooxidation, and guide the most effective preservation strategies for iconic masterpieces.
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