Barium sulfide is produced by carbothermic reduction of barium sulfate. Zinc sulfate is obtained from a variety of zinc products, often waste, by treatment with sulfuric acid.
Rebecca Capua is an assistant conservator in the Paper Conservation Department at the Metropolitan Museum of Art since 2009. She received an MA in art history and an Advanced Certificate in art conservation from the Conservation Center, Institute of Fine Arts, New York University in 2007. Her primary area of research is on the materials of American artists of the late 19th and early 20th century. Address: The Sherman Fairchild Center for the Conservation of Works on Paper, Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028. Email: rebecca.capua@metmuseum.org.
Nano titanium dioxide is a versatile material that is used in many different industries due to its unique properties. As a leading manufacturer of nano titanium dioxide, we pride ourselves on producing high-quality products that meet the needs of our customers.
Cet article traite de la découverte de lithopone phosphorescent sur des dessins à l'aquarelle, datés entre 1890 et 1905, de l'artiste Américain John La Farge et de l'histoire du lithopone dans l'industrie des pigments à la fin du 19e et au début du 20e siècle. Malgré de nombreuses qualités souhaitables pour une utilisation en tant que blanc dans les aquarelles et les peintures à l'huile, le développement du lithopone comme pigment pour artistes a été compliqué de par sa tendance à noircir lorsqu'il est exposé au soleil. Sa disponibilité et son usage par les artistes demeurent incertains parce que les catalogues des marchands de couleurs n'étaient généralement pas explicites à indiquer si les pigments blancs contenaient du lithopone. De plus, lors d'un examen visuel, le lithopone peut être confondu avec le blanc de plomb et sa phosphorescence de courte durée peut facilement être ignorée par l'observateur non averti. À ce jour, le lithopone phosphorescent a seulement été documenté sur une autre œuvre: une aquarelle de Van Gogh. En plus de l'histoire de la fabrication du lithopone, cet article décrit le mécanisme de sa phosphorescence et son identification à l'aide de la spectroscopie Raman et de la spectrofluorimétrie. En este artículo se discute el descubrimiento del litopón fosforescente en dibujos a la acuarela por el artista americano John La Farge, fechados de 1890 a 1905, y la historia del litopón en la industria de los pigmentos a finales del Siglo XIX y principios del Siglo XX. A pesar de tener muchas cualidades deseables para su uso en pintura para acuarela o pinturas al óleo blancas, el desarrollo del litopón como pigmento para artistas fue obstaculizado por su tendencia a oscurecerse con la luz solar. Su disponibilidad para los artistas y su adopción por ellos sigue siendo poco clara, ya que por lo general los catálogos comerciales de los coloristas no eran explícitos al describir si los pigmentos blancos contenían litopón. Además, el litopón se puede confundir con blanco de plomo durante el examen visual, y su fosforescencia de corta duración puede ser fácilmente pasada por alto por el observador desinformado. A la fecha, el litopón fosforescente ha sido documentado solamente en otra obra mas: una acuarela por Van Gogh. Además de la historia de la fabricación del litopón, el artículo detalla el mecanismo para su fosforescencia, y su identificación con la ayuda de espectroscopía de Raman, y de espectrofluorimetría. Este artigo discute a descoberta de litopônio fosforescente em desenhos de aquarela do artista americano John La Farge datados de entre 1890 e 1905 e a história do litopônio na indústria de pigmento no final do século XIX e início do século XX. Apesar de ter muitas qualidades desejáveis para o uso em aquarela branca ou tintas a óleo, o desenvolvimento do litopônio como um pigmento de artistas foi prejudicado por sua tendência a se escurecer na luz solar. Sua disponibilidade para e uso por parte de artistas ainda não está clara, uma vez que os catálogos comerciais dos vendedores de tintas geralmente não eram explícitos na descrição de pigmentos brancos como algo que contém litopônio. Além disso, o litopônio pode ser confundido com o branco de chumbo durante o exame visual e sua fosforescência de curta duração pode ser facilmente perdida pelo observador desinformado. O litopônio fosforescente foi documentado em apenas um outro trabalho até hoje: uma aquarela de Van Gogh. Além da história da manufatura do litopônio, o artigo detalha o mecanismo para a sua fosforescência e sua identificação auxiliada pela espectroscopia de Raman e espectrofluorimetria.
Titanium dioxide is added to some food packaging to preserve the shelf life of a product.
Key benefits for stakeholders
When combined with other materials, TiO2 forms a photoactive layer that absorbs sunlight and generates electricity When combined with other materials, TiO2 forms a photoactive layer that absorbs sunlight and generates electricitytio2. This technology has the potential to significantly reduce our dependence on fossil fuels and combat climate change.The assessment was conducted following a rigorous methodology and taking into consideration many thousands of studies that have become available since EFSA’s previous assessment in 2016, including new scientific evidence and data on nanoparticles.
Skittles has been making headlines in recent weeks and not because a new flavor has been added to the popular taste the rainbow candy.
Calcium carbonate (CaCO3) and titanium dioxide (TiO2) are two widely used industrial materials with various applications. In this article, we will discuss the importance of CaCO3 and TiO2 in manufacturing processes and their impact on the global economy.
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French researchers studied how and where E171 nanoparticles enter the bloodstream, first studying the route through pigs and then in vitro with human buccal cells, for a 2023 study published in the journal Nanotoxicology. The research showed that the nanoparticles absorbed quickly through the mouth and then into the bloodstream, before damaging DNA and hindering cell regeneration.
Technical Specifications：(Standard：Q/SNBJ1-2012)
The composition of lithopone underscores its superiority in specific applications. Ideally, prepared lithopone consists of 30 to 32 percent sulfide of zinc, and a negligible percentage of zinc oxide (1.5%), with the remaining majority being barium sulfate. These attributes render lithopone nearly comparable to the best grades of French process zinc oxide in terms of whiteness. Furthermore, its oil absorption, which sits between lead carbonate and zinc oxide, solidifies its position as a functional and efficient white pigment.