This work reports the analysis of the time-resolved photoluminescence behaviour on the nanosecond and microsecond time scale of fourteen historical and contemporary titanium white pigments. The pigments were produced with different production methods and post-production treatments, giving rise to a remarkable variability of titanium dioxide powders and, in some cases, to the formation of a complex surface of the crystal agglomerates. The pigments have been further characterized by Raman spectroscopy, scanning transmission electron microscopy coupled with energy dispersive X-ray spectroscopy and inductively coupled plasma atomic emission spectrometry. Our study provides a clear view of the main features of the photoluminescence (PL) emission of anatase- and rutile-based pigments. For both the polymorphs of titanium dioxide the room-temperature photoluminescence emission is complex and involves different relaxation paths, related to shallow levels close to the conduction bands and mid-gap trap states. The PL behaviour appears to be little affected by post-production treatments such as organic and inorganic coatings. Instead, the presence of niobium impurities in the TiO₂ crystal lattice, as residues of the sulphate synthesis process, induce a remarkable quenching of the visible emission of anatase-based pigments. We confirm that rutile-based and anatase-based pigments are significantly different in terms of photoluminescence behaviour. This clear distinction is a valuable point for non-invasive pigment identification by in-situ photoluminescence spectroscopy. In particular, while many organic binding media emit in the visible region, the near-infrared emission of rutile is specific and can likely be used to identify the pigment in more complex materials as paints. This research paves the way to future studies of the photo-physical properties of titanium white pigments, which is imperative to understand the risk of degradation induced by the well-known photocatalytic activity of this widely used 20^th century pigment.

Twentieth century paints often contain titanium dioxide and zinc oxide based white pigments that can range from photostable to highly photocatalytic. Photocatalytic pigments can cause the degradation of paint upon UV exposure, whereas photostable pigments may be benign or can protect paintings from degradation. Hence, knowing whether or not a pigment is photocatalytic is of high importance for risk assessment and the subsequent decision making process concerning storage and exposure conditions of objects. Here we present a proof of principle, focused on titanium white paints, for an easy-to-use and low-tech application of a commercial photocatalytic activity indicator ink (PAII) on embedded paint samples or cross sections. This test determines, qualitatively, if a photocatalytic pigment is present in a white paint sample. The PAII paint sample staining application shows an obvious color change, within five minutes of UV irradiation, for paint samples containing photocatalytic pigments. A microscope with a camera and a UV source are the only necessary equipment for the application of this method. A quantitative image processing protocol is also proposed as an extension of the staining method by applying open source software analysis to measure the color change using photographs. The test was evaluated on reference paints with well-characterized pigments and applied on samples from modern paintings by Piet Mondriaan, Robert Ryman, and Lucebert, indicating the presence of harmful photocatalytic pigments in these cases. The novel application of a commercial ink on paint samples offers a simple test, not just for assessment of photocatalytic activity of titanium white pigments, but which may in future be applied for the detection of photoactive forms of zinc white and other potentially harmful semiconductor pigments in art objects.

Fluorinated-titanium dioxide (TiO₂-F) nanoparticles in a pure anatase polymorph was precipitated from solution by hydrolysis of titanium oxychloride, using urea and ammonia as precipitation agents and potassium fluoride as a source of fluorine anion. A further wet attrition milling in presence of glycine completed by a heat treatment allowed an additional nitrogen doping of TiO₂ (TiO₂-F&N-HT). The morphology and crystalline structure of the as-synthesized powder was determined by transmission electron microscopy (TEM) and X-ray diffraction (XRD) and showed that TiO₂ powder was composed of nanoparticles with narrow size distribution which crystallized in the anatase phase. X-ray photoelectron spectroscopy (XPS) revealed that fluorine and nitrogen are present in TiO₂ as surface fluorination and interstitial doping, respectively. UV–vis diffuse reflectance spectroscopy (DRS) showed an increased optical absorption in the visible for TiO₂-F&N-HT sample. Under visible light irradiation, TiO₂-F nanoparticles showed a high photocatalytic performance, showing the high potential of an improved surface fluorination for Escherichia coli (E. coli) disinfection in suspension. These results show the importance of anatase-TiO₂ nanoparticles synthesis and modification by using a wet chemical approach leading to low aggregation and high specific surface area for effective bacterial inactivation. The co-doped TiO₂-F&N-HT powder showed slightly improved performance compared to the fluorinated sample. The significant degree of aggregation after the heat treatment is postulated as being a limiting factor in its photocatalytic activity.

Titanium white (TiO₂) has been widely used as a pigment in the 20th century. However, its most photocatalytic form (anatase) can cause severe degradation of the oil paint in which it is contained. UV light initiates TiO₂-photocatalyzed processes in the paint film, degrading the oil binder into volatile components resulting in chalking of the paint. This will eventually lead to severe changes in the appearance of a painting. To date, limited examples of degraded works of art containing titanium white are known due to the relatively short existence of the paintings in question and the slow progress of the degradation process. However, UV light will inevitably cause degradation of paint in works of art containing photocatalytic titanium white.In this work, a method to detect early warning signs of photocatalytic degradation of unvarnished oil paint is proposed, using atomic force microscopy (AFM) and X-ray photoelectron spectroscopy (XPS). Consequently, a four-stage degradation model was developed through in-depth study of TiO₂-containing paint films in various stages of degradation. The XPS surface analysis proved very valuable for detecting early warning signs of paint degradation, whereas the AFM results provide additional confirmation and are in good agreement with bulk gloss reduction.

As linseed oil has a longstanding and continuing history of use as a binder in artistic paints, developing an understanding of its degradation mechanism is critical to conservation efforts. At present, little can be done to detect the early stages of oil paint deterioration due to the complex chemical composition of degrading paints. In this work, we use advanced infrared analysis techniques to investigate the UV-induced deterioration of model linseed oil paints in detail. Subdiffraction limit infrared analysis (AFM-IR) is applied to identify and map accelerated degradation in the presence of two different grades of titanium white pigment particles (rutile or anatase TiO₂). Differentiation between the degradation of these two formulations demonstrates the sensitivity of this approach. The identification of characteristic peaks and transient species residing at the paint surface allows infrared absorbance peaks related to degradation deeper in the film to be extricated from conventional ATR-FTIR spectra, potentially opening up a new approach to degradation monitoring.