Fiber optic reflectance spectroscopy and hyper-spectral image spectroscopy: two integrated techniques for the study of the Madonna dei Fusi

Casini, Andrea; Bacci, Mauro; Cucci, Costanza; Lotti, F.; Porcinai, Simone; Picollo, Marcello; Radicati, B.; Poggesi, Marco; Stefani, Lorenzo De

doi:10.1117/12.611500

Cited by 35 publications

(29 citation statements)

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“…The formation of the image-cube is done using the scan mirror to sweep the image of the painting across the slit of the spectrometer, thus building up a slice of the cube one line at a time. This approach omits the need to slide the camera in front of the painting surface as is done in most systems [2,3] and provides for a compact system.…”

Section: Resultsmentioning

confidence: 99%

“…Using highly sensitive focal plane arrays, the images can be acquired under lighting conditions suitable for examination of paintings and even illuminated manuscripts [15,18]. Collection rates are typically on the order of a few minutes to scan an area of 640 by 640 spatial pixels in 150-300 spectral bands [2,4,15,16]. In contrast, XRF imaging spectroscopy has been implemented using a raster scanning method, which provides detailed information about the elements used and in some cases the way they are layered within a work of art.…”

Section: Introductionmentioning

confidence: 99%

“…Most of the imaging-based methods have been developed from successful, site-specific, in situ analysis methods that do not require samples. These include reflectance [2][3][4], luminescence [4,5], and x-ray fluorescence (XRF) [6] spectroscopies. Reflectance and luminescence spectroscopies provide information about electronic transitions [5,[7][8][9][10][11][12][13].…”

Section: Introductionmentioning

confidence: 99%

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Visible and infrared imaging spectroscopy of paintings and improved reflectography

et al. 2016

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Background: Imaging spectroscopy, the collection of spatially co-registered images in many contiguous spectral bands, has been developed for remote sensing of the Earth utilizing reflectance or luminescence. In this paper we summarize findings on the application of imaging spectroscopy to works of art in order to identify and map artists' pigments, improve the visualization of preparatory sketches, and identify non-original material.Methods: Two types of novel hyperspectral cameras, one operating from the visible to near-infrared (VNIR, 400-900 nm) and the other in the shortwave infrared (SWIR, 950-1700 nm), have been used to collect diffuse reflectance spectral image cubes from a variety of paintings. The resulting cubes (400-1700 nm, 310 spectral bands) were calibrated to reflectance and the resulting spectra compared with point-based spectra collected with a fiber reflectance spectrometer (350-2500 nm). In addition, a calibrated multispectral camera (600-950 nm, eight spectral bands) was used to obtain luminescence spectral image cubes after exciting paintings at blue wavelengths.Results: False-color images obtained from the SWIR imaging system are shown to give improved visualization of changes from paintings having large and complex reworkings, e.g. Pablo Picasso's The Tragedy (1903). False-color images and reflectance spectra allowed definitive identification of restoration in a late 13th century Sienese painting that cannot be seen by traditional infrared reflectography. Spectral image processing on the reflectance image cubes have been used to identify the primary pigments or pigment mixtures. For example, the primary pigments and their distribution in Picasso's Peonies (1901) was determined and compared with x-ray fluorescence (XRF) analysis and scanning electron microscopy-energy dispersive x-ray spectroscopy (SEM-EDS). Conclusion:The results show that the combination of both the SWIR reflectance data and the luminescence data provides a more robust ability to assign the pigments than with visible spectroscopy alone. Also highlighted is the utility of reflectance imaging spectroscopy in the SWIR region to better reveal specific paint changes, including changes in the drawings and markings made by the original artist, or changes made by a subsequent conservator such as a fill.

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Section: Resultsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Visible and infrared imaging spectroscopy of paintings and improved reflectography

et al. 2016

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“…Advances in technology made hyperspectral imaging possible in the 2000s [18]. The use of 'pushbroom' techniques was pioneered by IFAC-CNR in Florence [19,20] and by the National Gallery of Art in Washington [21]. Simple photographic methods with transmission filters applied to either the camera or the illumination remain viable, however, and may be considered as the technological baseline against which more sophisticated systems can be compared [22].…”

Section: Spectral Reflectance Image Capturementioning

confidence: 99%

Assessment of multispectral and hyperspectral imaging systems for digitisation of a Russian icon

et al. 2017

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In a study of multispectral and hyperspectral reflectance imaging, a Round Robin Test assessed the performance of different systems for the spectral digitisation of artworks. A Russian icon, mass-produced in Moscow in 1899, was digitised by ten institutions around Europe. The image quality was assessed by observers, and the reflectance spectra at selected points were reconstructed to characterise the icon's colourants and to obtain a quantitative estimate of accuracy. The differing spatial resolutions of the systems affected their ability to resolve fine details in the printed pattern. There was a surprisingly wide variation in the quality of imagery, caused by unwanted reflections from both glossy painted and metallic gold areas of the icon's surface. Specular reflection also degraded the accuracy of the reconstructed reflectance spectrum in some places, indicating the importance of control over the illumination geometry. Some devices that gave excellent results for matte colour charts proved to have poor performance for this demanding test object. There is a need for adoption of standards for digitising cultural heritage objects to achieve greater consistency of system performance and image quality.

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“…A two-dimensional detector can collect a series of spectra corresponding to spatial points aligned with the slit simultaneously. A full 3D spectral cube can be collected by scanning spatially in the direction perpendicular to the slit [31] [32] [33]. Such devices can offer much higher spectral resolution than the tunable filters described above but with reduced flexibility.…”

Section: Simultaneous Spectral Collectionmentioning

confidence: 99%

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

2011

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Multispectral imaging has been applied to the field of art conservation and art history since the early 1990s. It is attractive as a noninvasive imaging technique because it is fast and hence capable of imaging large areas of an object giving both spatial and spectral information. This paper gives an overview of the different instrumental designs, image processing techniques and various applications of multispectral and hyperspectral imaging to art conservation, art history and archaeology. Recent advances in the development of remote and versatile multispectral and hyperspectral imaging as well as techniques in pigment identification will be presented. Future prospects including combination of spectral imaging with other noninvasive imaging and analytical techniques will be discussed.

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Fiber optic reflectance spectroscopy and hyper-spectral image spectroscopy: two integrated techniques for the study of the Madonna dei Fusi

Cited by 35 publications

References 0 publications

Visible and infrared imaging spectroscopy of paintings and improved reflectography

Visible and infrared imaging spectroscopy of paintings and improved reflectography

Assessment of multispectral and hyperspectral imaging systems for digitisation of a Russian icon

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

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