Detection of Alteration Products in Artworks by Non-Destructive Spectroscopic Analysis

Bacci, Mauro; Baronti, Stefano; Casini, Andrea; Castagna, P.; Linari, R.; Orlando, Andrea; Picollo, Marcello; Radicati, B.

doi:10.1557/proc-352-153

Cited by 10 publications

(9 citation statements)

References 1 publication

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“…XRF detected in all the analysed points (Fig.1Sa) the presence of calcium among the minor elements; this is probably due to its presence in a deep layer, which leads to the absorption of its kα and kβ lines (respectively at 3.691 keV and 4.013 keV). Moreover, in the NIR range (7500-4000 cm -1 ) for all the analysed areas ( Fig.1Sa) it was possible to observe at 5140 and 6920 cm -1 the bands of gypsum CaSO4•2H2O (Bacci et al, 1995), hypothetically associated with the preparation layer of the panel (Fig.2). It is interesting to note that in area 3 (Fig.1Sa), which on the basis of UV analysis appeared to have been restored (Fig.3), the gypsum signals are significantly stronger than those of the binder.…”

Section: Ground Preparation and Primingmentioning

confidence: 84%

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

et al. 2021

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The project "Leonardesque Artists beyond the Visible" was planned in the 500 th anniversary of the death of Leonardo da Vinci, with the occasion of an exhibition held in Milan in 2019, where more than twenty works made by Leonardesque masters have been put on display. Among them, five representative paintings made by his closest pupils were selected for a comprehensive and multidisciplinary project. Portable noninvasive imaging and spectroscopy techniques were applied to supply useful information to scholars but also to the wider public: description of the material composition of the pigments, of the preparation and of the binders, existence or absence of underdrawing, and identification of the painters' technique and style. Particular attention was paid also to the image processing techniques, mostly for hyperspectral and radiographic data, to get the most from both innovative and traditional techniques.

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Section: Ground Preparation and Primingmentioning

confidence: 84%

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

et al. 2021

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“…This conveniently extends the measurement domain of one-dimensional reflectance spectroscopy (obtainable with fibre-optic spectrometers [14][15][16][17]) to the two-dimensional domain, providing data which can be used to discriminate among different compounds and to map them. In the study described here, IS was applied to the detection of different pigments in the sixteenth-century panel painting, La strage degli undicimila martiri by Pontormo.…”

Section: Introductionmentioning

confidence: 99%

Image Spectroscopy Mapping Technique for Non-Invasive Analysis of Paintings

Casini¹,

Lotti²,

Picollo³

et al. 1999

Studies in Conservation

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“…In those models, in fact, the thickness of the colour layer is slightly less than in the painting mock-ups in which two layers with different binders were superimposed. In summary, the greater penetration depth of NIR radiation allows the identification of gypsum in the preparatory layer, as already known [34]. The bands due to gypsum, on the other hand, can have varying intensities in the spectra depending on the thickness of the overlapping colour layers.…”

Section: Model Samples With Caso 4 •2h 2 O Preparatory Layermentioning

confidence: 68%

“…In principle, this fact could hinder the application of PCA analysis of spectral data in the 6000-4000 cm −1 region to the identification of binders and of their mixtures. In summary, the greater penetration depth of NIR radiation allows the identification of gypsum in the preparatory layer, as already known [34]. The bands due to gypsum, on the other hand, can have varying intensities in the spectra depending on the thickness of the overlapping colour layers.…”

Section: Model Samples With Caso 4 •2h 2 O Preparatory Layermentioning

confidence: 68%

FT-NIR Spectroscopy for the Non-Invasive Study of Binders and Multi-Layered Structures in Ancient Paintings: Artworks of the Lombard Renaissance as Case Studies

Longoni

Genova

Marzanni

et al. 2022

Sensors

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This work deals with the identification of natural binders and the study of the complex stratigraphy in paintings using reflection FT-IR spectroscopy, a common diagnostic tool for cultural heritage materials thanks to its non-invasiveness. In particular, the potential of the near-infrared (NIR) spectral region, dominated by the absorption bands due to CH, CO, OH and NH functional groups, is successfully exploited to distinguish a lipid binder from a proteinaceous one, as well as the coexistence of the two media in laboratory-made model samples that simulate the complex multi-layered structure of a painting. The combination with multivariate analysis methods or with the calculation of indicative ratios between the intensity values of characteristic absorption bands is proposed to facilitate the interpretation of the spectral data. Furthermore, the greater penetration depth of NIR radiation is exploited to obtain information about the inner layers of the paintings, focusing in particular on the preparatory coatings of the supports. Finally, as proof of concept, FT-NIR analyses were also carried out on six paintings by artists working in Lombardy at the end of the 15th century, that exemplify different pictorial techniques.

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Detection of Alteration Products in Artworks by Non-Destructive Spectroscopic Analysis

Cited by 10 publications

References 1 publication

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

Image Spectroscopy Mapping Technique for Non-Invasive Analysis of Paintings

FT-NIR Spectroscopy for the Non-Invasive Study of Binders and Multi-Layered Structures in Ancient Paintings: Artworks of the Lombard Renaissance as Case Studies

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