Fiber Optic Reflection Spectroscopy–Near-Infrared Characterization Study of Dry Pigments for Pictorial Retouching

Corradini, Martina; Ferri, Lavinia de; Pojana, Giulio

doi:10.1177/0003702820957641

Cited by 13 publications

(8 citation statements)

References 72 publications

(192 reference statements)

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“…Fibre Optic Reflectance Spectroscopy (FORS) as well as hyperspectral imaging systems in visible and Near-Infrared (NIR) regions) have been exploited to analyse original materials, retouching and degradation. [61][62][63] Although these techniques are non-invasive and can be used to discriminate chemical components in the paintings, their spectra are often hard to interpret and needs further confirmation using other analytical techniques such as Raman and FTIR spectroscopies. 64 More detailed information can be acquired by examining the stratigraphy of paintings.…”

Section: Sample Preparationmentioning

confidence: 99%

Recent advances and applications to cultural heritage using ATR-FTIR spectroscopy and ATR-FTIR spectroscopic imaging

Liu

Kazarian

2022

Analyst

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Section: Sample Preparationmentioning

confidence: 99%

Recent advances and applications to cultural heritage using ATR-FTIR spectroscopy and ATR-FTIR spectroscopic imaging

Liu

Kazarian

2022

Analyst

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“…Differently, fiber optic reflectance spectroscopy (FORS) was widely applied in the colored surface characterization field, i.e., for the identification of pigments used in pictorial retouching [2], in manuscripts [3] and in modern and contemporary paintings [4,5], for the analysis of red chalk drawing [6], historical glass deterioration [7], dyestuffs in artistic textiles [8] and in wall paintings of artistic and archaeological sites [9][10][11]. Besides, it appears very useful to detect color changes connected to aging, pigment alteration and the presence of alteration products [12].…”

Section: Introductionmentioning

confidence: 99%

A Non-Invasive and Sustainable Characterization of Pigments in Wall Paintings: A Library of Apulian Colors

et al. 2023

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This paper proposed a multianalytical, non-invasive, accessible and expensive (compared to traditional ones) approach for the characterization of pictorial surfaces. A set of 18 pigments and 37 mixtures widely used in the Middle Ages in the Apulia (Italy) artistic and archaeological contexts was considered, and corresponding replicas were produced. Pigments were first characterized by X-ray powder diffraction (XRPD), then replicas were studied by optical microscopy using a portable instrument, colorimetry and fiber optic reflectance spectroscopy (FORS). The investigation provided encouraging results, which allowed the creation of a library including diagnostic microscopic, colorimetric and reflectance markers of each pigment and the identification of the mixtures’ components.

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“…Indeed, that date is painted on the fresco decoration of St. Mauro Chapel's vault, whence its likely attribution to the 18th century and not to the first decorative phase of the church, dating to the beginning of the 16th century. On the occasion of recent restoration work on the frontal, it was possible to carry out a series of noninvasive spectroscopic measurements, performed both with the more traditional techniques, that is, by means of Ramanwhich is especially useful in identification of mixture of pigments and dark and black pigments - portable FTIR and visible reflectance spectroscopies [2][3][4][5][6][7][8][9][10][11][12], and with an innovative hyperspectral camera. Hyperspectral imaging is a novel analytical technique based on spectroscopy, with the aim of measuring the spectrum of the light coming from each point of a scene of interest.…”

Section: Introductionmentioning

confidence: 99%

Hyperspectral Imaging and Raman Analyses of the Red Decoration of the St. Mauro Altar in St. Salvatore's Church (Pavia)

Guglielmi¹,

Comite²,

Pini³

et al. 2023

Proceedings of the 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage

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In the basilica of St. Salvatore, antependiums belonging to different phases of monument decoration are visible. The most valuable, the marble frontal of the high altar, dates to 1511 and is probably the only one from the first decorative phase of the church. The side altar frontals appear to be made of wood, embroidered damask, or other fabrics. They are partly related to the renovations the basilica underwent when it was reopened for worship in the early 20th century, except for this frontal in St. Mauro's Chapel, which was plausibly made during the early 18th-century redecoration of the chapel itself. Because of its style and construction, it is assumed to belong to the Baroque decorative phase, referring to the date "1709" painted on the vault. This hypothesis is being verified by means of art-history research supported by the diagnostic study of the materials. The analyses, which are ongoing, were initially conducted on the red areas of the artefact, using portable Raman and visible reflectance spectroscopic techniques. Subsequently, measurements were taken with a hyperspectral camera, obtaining images highlighting the spatial distribution of the red pigments on the frontal.

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Fiber Optic Reflection Spectroscopy–Near-Infrared Characterization Study of Dry Pigments for Pictorial Retouching

Cited by 13 publications

References 72 publications

Recent advances and applications to cultural heritage using ATR-FTIR spectroscopy and ATR-FTIR spectroscopic imaging

Recent advances and applications to cultural heritage using ATR-FTIR spectroscopy and ATR-FTIR spectroscopic imaging

A Non-Invasive and Sustainable Characterization of Pigments in Wall Paintings: A Library of Apulian Colors

Hyperspectral Imaging and Raman Analyses of the Red Decoration of the St. Mauro Altar in St. Salvatore's Church (Pavia)

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