Macro X-ray fluorescence and VNIR hyperspectral imaging in the investigation of two panels by Marco d'Oggiono

D'Elia, Elena; Buscaglia, Paola; Piccirillo, Anna; Picollo, Marcello; Casini, Andrea; Cucci, Costanza; Stefani, Lorenzo De; Romano, Francesco; Caliri, Claudia; Gulmini, Monica

doi:10.1016/j.microc.2019.104541

Cited by 16 publications

(15 citation statements)

References 19 publications

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“…It is reasonable to assume that the bottom layer corresponds to the flash tones of the devotee's cheek, indicating potentially that the artist painted the earring after, and over, the devotee's ear. MA‐XRF performed in the same area [ 5 ] indicates the presence of a former hairstyle, underneath the presently visible one, where vermillion was used in the reddish tones. Therefore, the increase of vermillion signal from the subsurface could be also ascribed to the original (hidden) painting.…”

Section: Resultsmentioning

confidence: 99%

“…These data indicate that the vibrant red portions of the dress were made by mixing two pigments. Interestingly, macro‐XRF and HIS highlighted the overlapping of red ochre on top of vermillion in the shadows of the dress [ 5 ] ; therefore, the combination of the analytical data (macro‐XRF, HIS, and micro‐SORS) permits to conclude that a pigments mixture was used for the vibrant red dress areas, whereas for the shadows a further external, darker, ochre layer was superimposed.…”

Section: Resultsmentioning

confidence: 99%

“…In fact, the overlapping of the devotee's red vest and the Saint's white vest emerges in the IR‐Reflectography images. [ 21 ] To paint the Saint's vest, white lead was mainly used, as the MA‐XRF maps showed high lead content in that area [ 5,21 ] ; in the micro‐SORS measurements, white lead signal is absent probably because of the relatively low scattering Raman cross‐section of the pigment.…”

Section: Resultsmentioning

confidence: 99%

“…This information should be collected in a non-invasive way to preserve the integrity of the artwork and to increase the statistical meaning of the dataideally performed at multiple location to obtain holistic information about the makeup of the art object. To date, X-rays, visible, infrared (and near-infrared), and terahertz-based methods, [1][2][3][4][5][6][7][8] are used for the noninvasive investigations of multilayered materials such as painted stratigraphy.…”

Section: Introductionmentioning

confidence: 99%

“…[ 20 ] Moreover, these two paintings have been previously investigated with non‐invasive and micro‐invasive techniques: macro X‐Ray fluorescence spectroscopy (MA‐XRF), visible and near infrared (VNIR) hyperspectral imaging (HIS), and IR‐Reflectography were used in situ , whereas Fourier‐transformed infrared spectroscopy (FT‐IR) and scanning electron microscopy coupled with energy dispersive X‐rays spectroscopy (SEM–EDX) measurements were performed on micro‐samples with the aim of identifying the pigments, their layering sequence both in the original and in the repainted areas. [ 5,21 ] Micro‐SORS supplements the information obtained by these techniques providing an opportunity for integrating XRF, VNIR imaging with molecular depth profiles.…”

Section: Introductionmentioning

confidence: 99%

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Non‐invasive and in situ investigation of layers sequence in panel paintings by portable micro‐spatially offset Raman spectroscopy

Botteon

Colombo

Realini

et al. 2020

J Raman Spectroscopy

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Nowadays, the research in conservation science is focused on developing advanced portable analytical techniques able to achieve subsurface data in situ and in a non-invasive way. Micro-spatially offset Raman spectroscopy (micro-SORS) is an emerging analytical technique developed to address the need of non-invasively retrieving the molecular composition of the subsurface compounds; however, so far, micro-SORS studies of artworks have been carried out only with benchtop Raman microscopes, precluding the non-invasive analysis of large objects and artworks in situ. Here, for the first time, portable micro-SORS was used for non-invasive and in situ investigation of art objects. The potential of portable micro-SORS is demonstrated through the reconstruction of the layer sequences in selected areas of two 16th century panel paintings, providing unequivocal information about the preparation layer spread over the panels and the pigments used in the painted layers and supplying essential information on the artist's technique.

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Non‐invasive and in situ investigation of layers sequence in panel paintings by portable micro‐spatially offset Raman spectroscopy

Botteon

Colombo

Realini

et al. 2020

J Raman Spectroscopy

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“Costruzione del viadotto”:MA‐XRFin the pictorial executive technique of Agostino Bosia

Nervo

Romano²,

Caliri

et al. 2020

X-Ray Spectrometry

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During the restoration process of a huge oil canvas (266 cm × 361 cm × 3 cm) by Agostino Bosia, a deep diagnostic campaign was carried out to characterize the original materials and those stratified over time. The activity was supported by the technologies available today in the field of conservation of the Cultural Heritage. Multispectral analyses (UV fluorescence, infrared reflectography, infrared false‐colour post‐production, digital radiography) associated with punctual (X‐Ray Fluorescence, Fibre Optics Reflectance Spectroscopy) and microstratigraphic analyses (visible light and UV fluorescence optical microscopy and SEM–EDX) allowed to accurately reconstruct the artist's creative process and to identify the pictorial materials. The well‐known analytical protocol was finally combined with Macro X‐ray Fluorescence scanning technique (MA‐XRF) in order to consolidate the results of the punctual, non‐invasive analyses over a large area of the canvas.

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Below the surface of the coffin lid of Neskhonsuennekhy in the Museo Egizio collection

et al. 2020

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The multidisciplinary and multi‐technical study of the coffin lid of Neskhonsuennekhy (Turin, Museo Egizio, inventory number S.05245) datable to the 26th dynasty (664–525 BC) was launched in 2015 at the Centro Conservazione e Restauro La Venaria Reale during the conservation activities required by the Museo Egizio, as part of wider research on the so‐called red coffins. Widespread abrasions and gaps in the pictorial stratigraphy strongly impeded the reading of the decoration, and a reddish and locally blackened material was covering many areas. Integrating multispectral imaging (UV fluorescence, VIL, IR reflectography), MA‐XRF, radiography, and analyses on micro‐samplings (OM, SEM‐EDX, FT‐IR) allowed deepening the state of preservation, detecting previous intervention, and characterizing the blackened surface, necessary to define the cleaning intervention objectives. In particular, the IR reflectography allowed recovering the readability of the beautiful drawings and the ancient hieroglyphs hidden beneath the reddish blackened surface. Based on the analytical data and compatibility with the pigments known in ancient Egypt, it was possible to return to the public the original lost decoration with a descriptive and virtual reconstruction. The new LANDIS‐X scanning station equipped with a real‐time macro XRF was fundamental for studying pigments, glazes, and mixtures besides the presence of lead impurities in the copper source used to make the Egyptian blue pigment, encouraging the research on the sources of mineral supply. Finally, this study allowed understanding the technique of execution of the find, from the assembly of the wooden elements to the reddish finish, noticing analogies with the other red coffins.

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Macro X-ray fluorescence and VNIR hyperspectral imaging in the investigation of two panels by Marco d'Oggiono

Cited by 16 publications

References 19 publications

Non‐invasive and in situ investigation of layers sequence in panel paintings by portable micro‐spatially offset Raman spectroscopy

Non‐invasive and in situ investigation of layers sequence in panel paintings by portable micro‐spatially offset Raman spectroscopy

“Costruzione del viadotto”:MA‐XRFin the pictorial executive technique of Agostino Bosia

Below the surface of the coffin lid of Neskhonsuennekhy in the Museo Egizio collection

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