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Contamination of natural bodies of water with oil and lubricants (or generally, hydrocarbon derivatives such as petrol, fuel and others) is a commonly found phenomenon around the world due to the extensive production, transfer and use of fossil fuels. The timely identification of these contaminants is of utmost importance, since they directly affect water quality and represent a risk for wildlife and human health even in trace amounts.
In this work, we develop a simple system for the on-field detection of total petroleum hydrocarbons (TPH) in water and soil, the "Spectrocube". The test is based on the measurement of the fluorescence signal emitted by the molecular rotor 4-DNS-OH dye. This dye is embedded in a hydrophobic polymeric matrix (PVDF), avoiding interactions of water with the dye and providing a robust support for use in test-strip fashion. The test-strip’s fluorescence intensity increases linearly at low concentrations of TPH, reaching a saturation value at higher concentrations.
For excitation and evaluation of the test-strip fluorescence, a simple miniature optical system was designed. The system works semi-quantitatively as solvent-free TPH detection kit, as well as quantitatively when using a simple cyclopentane extraction step. To simplify the fluorescence read-out, the device is coupled to a tablet computer via Bluetooth, running a self-programmed software ("app").
The technique of painting on the reverse side of a glass panel was rediscovered by German artists at the beginning of the 20th century. They appreciated the impressive gloss, luminosity, and depth of colours in this genre. Compared to stained glass, the distinctive properties of this technique are: (1) the paint is applied “cold”, hence, it doesn’t involve a firing step, (2) reverse paintings on glass are framed and always viewed in reflected light and (3) the reverse paint stratigraphy is different from canvas paintings, starting with the front most layer and ending with the backing layer. In 1908 several artists, including Gabriele Münter, Wassily Kandinsky, Heinrich Campendonk, August Macke and Franz Marc of the “Der Blaue Reiter” (the Blue Rider) collective took an interest in this technique and started to share their interest with other colleagues in Europe. Our pioneering project is tracing this transfer of knowledge by a multidisciplinary approach in terms of art history, paint technology and material science. More than 100 artists and >1000 reverse paintings on glass were identified during the project. This high number of objects clearly points out that this technique was by far more important for modern art than previously assumed. In-situ, non-invasive measurements (XRF, Raman, VIS, DRIFTS) on a well-considered selection of 67 paintings reveal the broad palette of colorants ranging from traditional to experimental. Special attention is paid to the impact of synthetic organic pigments (SOP) in artists palette. Demonstrative examples by W. Kandinsky, L. G. Buchheim and F. Jespers are used to discuss analytical challenges and highlights.