In this work, four artworks dating from the 19th century by Brazilian painters Firmino Monteiro, Henrique Bernardelli, and Eliseu Visconti were analyzed by MA-XRF. Pb-L, Fe-K, and Hg-L were the main elemental maps obtained in all paintings. In the artworks of Henrique Bernardelli and Eliseu Visconti, maps of Cr-K and Co-K were also obtained. These results indicate that these Brazilian painters from the 19th century used few pigments to create their paintings, with the different hues coming mainly from ocher pigments. Using correlation image methods, no intentional mixtures of pigments made by the painters were found. These results indicate that the three painters used similar materials and techniques for preparing their pigments. These similarities are confirmed through statistical analysis by non-negative matrix factorization (NMF). In this method, it was possible to verify that the main bases of the contribution of the data registered in each artwork are the same. The analysis also revealed that one of Eliseu Visconti’s paintings had an underlying painting, and another artwork by Eliseu Visconti contained a golden pigment with Cu and Zn. These results have helped art historians and conservators understand the creation process of Brazilian artists in the 19th century.

This work presents the development of a macro X-ray fluorescence (MA-XRF) scanner system for in situ analysis of paintings. The instrument was developed to operate using continuous acquisitions, where the module with the X-ray tube and detector moves at a constant speed, dynamically collecting spectra for each pixel of the artwork. Another possible configuration for the instrument is static acquisitions, where the module with the X-ray tube and detector remains stationary to acquire spectra for each pixel. The work also includes the analytical characterization of the system, which incorporates a 1.00 mm collimator that allows for a resolution of 1.76 mm. Additionally, the study presents the results of the analysis of two Brazilian paintings using this instrument. The elemental maps obtained enabled the characterization of the pigments used in the creation of the artworks and materials used in restoration processes.

This work aims to characterize the elemental concentrations of two banana types gold and silver. In both were analyze in the pulp and peel by X-Ray Fluorescence technique. The results showed that the elements in both types are more concentrated in the peel than in the pulp. In addition, it was also observed that the normalization of the peel and pulp concentrations for the elements K, Fe, Zn, Br, Rb, and Sr is higher in the silver banana compared to the gold banana. The results indicate that banana peels can be used to supplement nutritional deficiencies. The work also demonstrates the potential that X-Ray Fluorescence has in investigation of elemental composition of foods. As the technique has easy instrumentation and data interpretation, it can be implemented as a routine in the investigation of the elemental composition of foods. In addition, the technique has the advantage of carrying out in situ analyzes by portable instruments. These in situ investigations can even be applied to make quality control of bananas at the time of harvest.

This study analyses the pictorial materials used by the renowned Brazilian artist Di Cavalcanti (1897–1976) in two modern oil paintings on canvas from 1962, part of the collection at the Chácara do Céu Museum in Rio de Janeiro, Brazil. This analysis was carried out using imaging: visible light imaging and infrared reflectography (IRR), as well as by energy dispersive x‐ray fluorescence (ED‐XRF) and macro x‐ray fluorescence scanning (MA‐XRF). The results obtained through the imaging process allowed us to assess the state of conservation, revealing “pentimento” and the absence of traces of the underdrawings. No pictorial loss or restored areas were detected either. Using ED‐XRF and MA‐XRF techniques, it was possible to characterize and map the distribution of the chemical elements present in the artworks. The study enabled the identification of a color palette comprising pigments containing lead, zinc, titanium, iron, cadmium, and chromium. The correlation of the various results obtained from each technique was fundamental for understanding not only the materials used by Di Cavalcanti, but also his artistic technique and creative process. Furthermore, the scientific basis derived from this research enables the monitoring of surface deterioration (craquelure) in the analyzed artworks, the planning of interventions, and the assistance in forensic examinations of paintings attributed to the artist, contributing significantly to the preservation of his legacy and the Brazilian artistic heritage.

In this study, four paintings by the Brazilian artists Tarsila do Amaral and Anita Malfatti were analyzed using x‐ray fluorescence (XRF) and macro‐x‐ray fluorescence (MA‐XRF) scanning. The analyzed artworks by Tarsila do Amaral were “Autorretrato com vestido laranja” (1921) and “Figura Só” (1930), while the investigated paintings by Anita Malfatti were “A Estudante” (1915–1916) and “Interior de Mônaco” (1925). These artworks were produced at different stages of the artists' careers; therefore, one of the objectives was to evaluate the differences present in these distinct creative periods. The results mainly indicated a change in the ground layers of the paintings. This analysis was performed using the differential attenuation of characteristic x‐ray photons, which allows the assessment, through Kα/Kβ and Lα/Lβ ratios, of the possible origin of elements in a multilayer matrix. Additionally, elemental maps obtained by MA‐XRF enabled the evaluation of the paintings' conservation state. Based on these results, it was possible to identify similarities and differences in the creative processes and materials employed by the artists in the making of their artworks.