Dual mode standoff imaging spectroscopy documents the painting process of the Lamb of God in theGhent Altarpieceby J. and H. Van Eyck

Abstract

The ongoing conservation treatment program of the Ghent Altarpiece by Hubert and Jan Van Eyck, one of the iconic paintings of the west, has revealed that the designs of the paintings were changed several times, first by the original artists, and then during later restorations. The central motif, The Lamb of God, representing Christ, plays an essential iconographic role, and its depiction is important. Because of the prevalence of lead white, it was not possible to visualize the Van Eycks’ original underdrawing of the Lamb, their design changes, and the overpaint by later restorers with a single spectral imaging modality. However, by using elemental (x-ray fluorescence) and molecular (infrared reflectance) imaging spectroscopies, followed by analysis of the resulting data cubes, the necessary chemical contrast could be achieved. In this way, the two complementary modalities provided a more complete picture of the development and changes made to the Lamb.

Multidisciplinary approach to the study of artworks: environmental conditions, color palette, microbial colonization and nannofossils inLas Musaspainting

“…For the process, we created a 3D representation of the samples previously studied. This graphic source allows us to outline the information related to the macroscopic color and the main materials found in that particular area of the painting [64] , see Figure 4A.…”

Atomic spectrometry update – a review of advances in X-ray fluorescence spectrometry and its special applications

“…The yellow pigments were lead chromate (Cr, Pb), cadmium yellow (Cd) and yellow and red earth (Fe). The prevalence of lead white in the central motif, The Lamb of God, of the famous Ghent Altarpiece by Hubert and Jan Van Eyck meant that Van der Snickt et al 96 were unable to visualise Van Eycks’ original underdrawing of the Lamb and any design changes or subsequent overpainting by later restorers when using a single spectral imaging modality. However, the chemical contrast needed could be achieved by using both elemental macroXRF and molecular IR reflectance imaging spectroscopies followed by analysis of the resulting data cubes.…”

Reviving degraded colors of yellow flowers in 17th century still life paintings with macro- and microscale chemical imaging

“…The capability of noninvasive imaging techniques such as macroscopic x-ray fluorescence (MA-XRF) scanning, reflectance imaging spectroscopy (RIS), and macroscopic reflectance Fourier transform infrared (MA-rFTIR) spectroscopy for the identification of artist's working methods and materials has been demonstrated over the past decades (8)(9)(10). MA-XRF allows for the identification and mapping of chemical elements, while RIS provides complementary molecular information.…”