Bright Colours from the Past

Prof. van Bommel (1968) is full professor of conservation science at the University of Amsterdam (UvA), Faculty of Humanities, Amsterdam school of Heritage, Memory and Material Culture (AHM), Conservation and Restoration of Cultural Heritage (C&R) and at the Faculty of Science, Van 't Hoff Institute for Molecular Sciences (HIMS), Analytical Chemistry. From this unique position at two faculties, he bridges science and conservation. Before this appointment, he worked as (senior) scientist and program manager at the Netherlands institute for cultural heritage. Van Bommel’s main research focus is on material change of a wide range of heritage objects (paintings, furniture, plastics, paper, textiles, metal, glass & ceramics) with a special attention to natural and synthetic dyes. He investigates chemical composition and material change, aiming to understand the original appearance of heritage objects, and to develop mitigation and preservation strategies for cultural heritage display, management and conservation. This involves the use of advanced analytical methods, studying historical sources as a basis for model systems and historically informed reconstructions, and the development of visualisation techniques to show the presumed original appearance of objects of art. Common ground in all his projects is the development and application of a wide variety of analytical techniques to characterise material changes and understand degradation mechanisms. He has been awarded several national and international funded projects and published over 125 peer-reviewed papers, chapters, books and conference papers in both science and cultural heritage journals, and has contributed to museum catalogues and popular science publications.Ing. Matthijs de Keijzer (1952) worked as a senior conservation scientist at the Heritage Laboratory of the Cultural Heritage Agency of the Netherlands in Amsterdam. Following a successful career in analytical chemistry in various industries, he turned his attention to the study of works of art. Working in interdisciplinary teams, his research interest is the microscopic and microchemical analysis of pigments on various cultural heritage objects to solve conservation and restoration problems. In the last decade of the 20th century his research was focussed on the history of the modern pigments of that era. Since 2003, he is involved in the project ´Early Synthetic Organic Dyes´. This project is based on a selection of well-known synthetic organic dyes, covering all dye classes and is focused on the period 1856–1914. His contribution in this project was to collect information by studying the original historical literature sources, including the international patent literature. He is an expert on early and modern synthetic pigments and dyes and their use in various techniques and has published and lectured widely in these fields. He lectured at the University of Applied Arts Vienna, the University of Amsterdam, the George Enescu National University of Arts in Iasi and the University of Gothenburg. He is also co-author of the book Pigmenten en Bindmiddelen (Pigments and Binding media).

• Chapter 1 Introduction and reading information.- Chapter 2 A short history of synthetic colourants.- Chapter 3Patents and international competition.- Chapter 4 Dye recipes for synthetic colourants.- Chapter 5 Chemical analysis of synthetic colourants.- Chapter 6 Pittacal.- Chapter 7Murexide.- Chapter 8 Prussian blue: an inorganic pigment used as a textile dye.- Chapter 9Indigo carmine.- Chapter 10The nitro dyes.- Chapter 11 Mauveine.- Chapter 12Fuchsine and Methyl violet.- Chapter 13 A colour boom: the tri-arylmethane dyes.- Chapter 14The early azo dyes: Aniline yellow, Bismarck brown, Chrysoidine, Orangés, Fast red A.- Chapter 15 The Ponceaus.- Chapter 16      Bright organic red colours: the history and analysis of Fluorescein, Eosins, Phloxines, Erythrosines, Rose Bengals, Rhodamines and their derivatives.- Chapter 17 The other yellow synthetic organic dyes.- Chapter 18 The first synthetic substantive cotton dyes: Congo red, Benzopurpurine B, Benzopurpurine 4B and some of their derivatives.- Chapter 19 Sulfur dyes in nearly every colour and shade.- Chapter 20 Synthetic Alizarin.- Chapter 21 The long industrial road to synthetic Indigo.- Appendix International dye producing factories.