Experimental study on merits of virtual cleaning of paintings with aged varnish

Trumpy, Giorgio; Conover, Damon M.; Simonot, Lionel; Thoury, Mathieu; Picollo, Marcello; Delaney, John K.

doi:10.1364/oe.23.033836

Cited by 17 publications

(44 citation statements)

References 16 publications

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“…A recent study on 2 other paintings resulted in transmittance values varying from 0.40 to 0.95, and between 0.50 and 0.85. 5 In comparison to those paintings, the present results indicate that the varnish on Field with Irises near Arles has low transmittance values. In agreement with the transmittance spectra published for the other paintings, also in the current investigation we find that transmittance consistently increases with increasing wavelength, which in itself already leads to a yellowing effect caused by the aged varnish.…”

Section: K Ubel Ka-mu Nk An Alys I S O F V Arn Is H Rem Ovalmentioning

confidence: 44%

“…This assumption is also made by other varnish corrections that have been proposed in the past. 5,11 Similar to the case of the paintings described in Trumpy et al, 5 also for some parts of Field with Irises near Arles this assumption is known to be incorrect. For example, in the blue-sky area of the painting microscopic investigations have shown local accumulations of varnish.…”

Section: R Es Ult S and Discussionmentioning

confidence: 86%

“…These data agree with other published data. 5 In the visual part of the spectrum, the transmittance calculated here for Field with Irises near Arles varies from 0.20 to 0.60, depending on wavelength. A recent study on 2 other paintings resulted in transmittance values varying from 0.40 to 0.95, and between 0.50 and 0.85.…”

Section: K Ubel Ka-mu Nk An Alys I S O F V Arn Is H Rem Ovalmentioning

confidence: 78%

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Digitally reconstructing Van Gogh's Field with Irises near Arles. Part 1: Varnish

Kirchner

Lans

Ligterink

et al. 2017

Color Research & Application

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Varnish layers applied to paintings often discolor as they age, upsetting the original colour relationships intended by the artist. The removal of aged varnish layers using physical and chemical means is a highly skilled and often time-consuming operation, which is not lightly undertaken. There are many aspects under consideration before embarking upon such treatment, including the visual result inferred by spot cleaning tests. In this article, we develop a technique for digital removal of discolored varnish that can help to envisage how a painting will look following cleaning treatment. The digital technique was applied to Vincent van Gogh's painting Field with Irises near Arles (May 1888), in parallel to the painting actually being cleaned, which allowed direct validation of the method developed. In the new method, we utilized not only hyperspectral data from parts of the painting with and without the varnish, but also experts' identification of spots on the painting where unmixed white pigment has been applied. The physical model that we use is based on Kubelka-Munk twoconstant theory, commonly used to model the optical properties of paint. We show that with this model it is possible to determine the transmittance and reflectance of the varnish layer as function of wavelength. Results from previous studies confirm the calculated values. With the new method, we created a high-resolution digital image of the painting, as it would look after varnish removal, at a moment when the actual varnish was still present on the painting. The new method may help conservators and others involved in decisions made regarding issues of varnish removal from paintings, or may help to visualize the colors of a painting without discolored varnish in cases where its physical removal cannot be safely accomplished and so is not an option. K E Y W O R D S cultural heritage, Kubelka-Munk, varnish wileyonlinelibrary.com/journal/col Color Res Appl. 2018;43:150-157.

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Section: K Ubel Ka-mu Nk An Alys I S O F V Arn Is H Rem Ovalmentioning

confidence: 44%

Section: R Es Ult S and Discussionmentioning

confidence: 86%

Section: K Ubel Ka-mu Nk An Alys I S O F V Arn Is H Rem Ovalmentioning

confidence: 78%

See 1 more Smart Citation

Digitally reconstructing Van Gogh's Field with Irises near Arles. Part 1: Varnish

Kirchner

Lans

Ligterink

et al. 2017

Color Research & Application

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“…Dans une étude menée à la National Gallery de Washington [7], nous avons acquis des images hyperspectrales avant et après une opération d'allégement de vernis ( fig. E1).…”

Section: Allègement Virtuel De Vernisunclassified

Des peintures des Primitifs flamands à l’impression 3D. Comment jouer avec des couches colorées translucides ?

Simonot

2019

Reflets phys.

Self Cite

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Avec l’invention de la peinture à l’huile au XVe siècle, la couleur prend une autre dimension : elle se construit dans l’épaisseur de la matière picturale. En effet, le nombre de couches déposées module la clarté et la saturation de la couleur, tandis qu’un fond blanc diffusant donne l’impression d’une lumière provenant de l’arrière du tableau tel un rétro-éclairage. Étudier la matière picturale comme un composant optique permet de simuler l’apparence d’un tableau, aide qui peut être précieuse lors d’une opération de restauration sur les couches picturales. Cette approche est aussi à la source de procédés innovants d’impression 3D couleur s’inspirant de la technique des peintres de la Renaissance.

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“…This then allows one to examine and map the entire surface of an object [6,34,38] and guides the use of techniques such as Raman spectroscopy [39,40], XRF [41,42], and FORS [43] which give a more detailed analysis [14,[44][45][46]. This methodology can overcome concerns that point-based analyses may not represent the whole and may not be sufficient to demonstrate the diversity of colourants in such works [3].…”

Section: Hyperspectral Imagingmentioning

confidence: 99%

Comparing the effectiveness of hyperspectral imaging and Raman spectroscopy: a case study on Armenian manuscripts

et al. 2018

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There is great practical and scholarly interest in the identification of pigments in works of art. This paper compares the effectiveness of the widely used Raman Spectroscopy (RS), with hyperspectral imaging (HSI), a reflectance imaging technique, to evaluate the reliability of HSI for the identification of pigments in historic works of art and to ascertain if there are any benefits from using HSI or a combination of both. We undertook a case study based on six Armenian illuminated manuscripts (eleventh-eighteenth centuries CE) in the Bodleian Library, University of Oxford. RS, and HSI (380-1000 nm) were both used to analyse the same 10 folios, with the data then used to test the accuracy and efficiency of HSI against the known results from RS using reflectance spectra reference databases compiled by us for the project. HSI over the wavelength range 380-1000 nm agreed with RS at best 93% of the time, and performance was enhanced using the SFF algorithm and by using a database with many similarities to the articles under analysis. HSI is significantly quicker at scanning large areas, and can be used alongside RS to identify and map large areas of pigment more efficiently than RS alone. HSI therefore has potential for improving the speed of pigment identification across manuscript folios and artwork but must be used in conjunction with a technique such as RS.

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Experimental study on merits of virtual cleaning of paintings with aged varnish

Cited by 17 publications

References 16 publications

Digitally reconstructing Van Gogh's Field with Irises near Arles. Part 1: Varnish

Digitally reconstructing Van Gogh's Field with Irises near Arles. Part 1: Varnish

Des peintures des Primitifs flamands à l’impression 3D. Comment jouer avec des couches colorées translucides ?

Comparing the effectiveness of hyperspectral imaging and Raman spectroscopy: a case study on Armenian manuscripts

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