A Scanning Device for Infrared Reflectography

Bertani, D.; Cetica, M.; Poggi, Pasquale; Puccioni, G. P.; Buzzegoli, Ezio; Kunzelman, Diane; Cecchi, Stefania

doi:10.2307/1506163

Cited by 21 publications

(15 citation statements)

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“…Techniques involved-multispectral reflectography [1][2][3][4][5][6][7][8][9][10][11][12][13][14], colorimetry [15][16][17][18][19][20], laser scanning microprofilometry [21][22][23][24][25][26][27][28][29][30], and optical coherence tomography (OCT) [31][32][33][34][35][36][37][38][39][40][41][42][43][44]-allowed for a non-invasive quantitative analysis of significant alterations resulting from the cleaning process, while enabling the restorer/conservator to objectively assess the overall outcome.…”

Section: Introductionmentioning

confidence: 99%

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Application of non-invasive optical monitoring methodologies to follow and record painting cleaning processes

et al. 2015

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The cleaning of painted artworks, i.e. the critical operation whereby materials are selectively removed from a painted surface by partial thinning or complete elimination of varnish, is one of the most debated conservation operations, being an irreversible process, which may result in chromatic and morphological variations in the painted surface. Due to ageing, the upper layer is subject to darkening and yellowing because of blanching and fading from ultraviolet exposure, dust deposition, and overpainted layers due, for instance, to restoration interventions. This degradation can either alter the original appearance of painting polychromy or cause mechanical failure of the finishes. To address these adverse conditions, a process of examination and analysis is critical to the definition and interpretation of the varnish layer. When investigating the ageing process of old paintings, it is of great importance to obtain insight into the painting technique as practiced in the past, and the first step in gaining this knowledge is, to a large extent, based on the study of the varnish film. An effective control of the process and objective evaluation of its outcome requires therefore instrumental/analytical support. The present study illustrates the successful application of non-invasive optical techniques-such as colorimetry, multispectral reflectography, laser scanning micro-profilometry, and optical coherence tomography-to the monitoring of an Italian fourteenth-century painting cleaning process. Results presented here confirm that optical techniques play a pivotal role in artwork diagnostics, especially with regard to conservation operations, while also indicating their validity when applied to the monitoring of the cleaning process.

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Section: Introductionmentioning

confidence: 99%

“…RGB and FC images(1)(2)(3)(4)(5) of the area painted with azurite. Pigment colour variation as a function of the employed NIR wavelength window…”

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confidence: 99%

Application of non-invasive optical monitoring methodologies to follow and record painting cleaning processes

et al. 2015

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“…In principle, the imaging of static objects such as paintings may be acquired by means of scanning mechanisms, either in a plane parallel with and close to the painting [1] or in the focal plane of a large format camera [2][3][4].…”

Section: Introductionmentioning

confidence: 99%

Vis-NIR Hyperspectral and Terahertz Imaging Investigations on a Fresco Painting on “Tavella” by Alessandro Gherardini

Doria

Gallerano

Giovenale

et al. 2017

J Infrared Milli Terahz Waves

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In this paper, we report on Vis-IR hyperspectral and terahertz imaging investigations carried out on a fresco painting on tavella depicting St. John Baptist, by Alessandro Gherardini (1655-1726). Measurements took place at the Restoration Laboratories of the former BPolo Museale della Toscana,^in Florence, in the framework of the Italy-Japan collaborative project THz-ARTE. We show how the hyperspectral data made it possible to determine the state-ofconservation of Gherardini's painting, while reflection imaging measurements performed at 97 GHz provided a qualitative evaluation of the position of defects inside the tavella.

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“…Scarcely ever, mainly because of higher costs, solid state detector cameras operating up to 1.7 lm and above, like those with indium gallium arsenide (InGaAs) [9] are used. With such technologies, in order to improve image resolution, some scanning systems have been realized from different research groups, based on moving the examined painting [10] or the IR instrument (camera or detector) [11,12]. In front of this multiplicity of devices, since some years art historians, conservators, museum technicians and physicists express the need of a new systematic exam giving a comparison of more IR systems.…”

Section: Introductionmentioning

confidence: 99%