Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's Painting<i>The Olive Orchard</i>

Dooley, Kathryn A.; Chieli, Annalisa; Romani, Aldo; Legrand, Stijn; Miliani, Costanza; Janssens, Koen; Delaney, John K.

doi:10.1002/ange.201915490

Cited by 5 publications

(1 citation statement)

References 21 publications

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“…This is because fading might cause the disappearance or transformation of some highly sensitive elements in the materials. In such cases, state-of-the-art non-invasive optical techniques used for the task of pigment identification, such as reflectance imaging spectroscopy can be helpful to find residual pigments, by sensing their known responses to certain incident light [1]. Nevertheless, knowledge of the pigments' fading behaviour can contribute towards their recognition.…”

Section: Introductionmentioning

confidence: 99%

Tensor decomposition for painting analysis. Part 1: pigment characterization

Ciortan

Poulsson²,

George

et al. 2023

Herit Sci

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Photo-sensitive materials tend to change with exposure to light. Often, this change is visible when it affects the reflectance of the material in the visible range of the electromagnetic spectrum. In order to understand the photo-degradation mechanisms and their impact on fugitive materials, high-end scientific analysis is required. In a two-part article, we present a multi-modal approach to model fading effects in the spectral, temporal (first part) and spatial dimensions (second part). Specifically, we collect data from the same artwork, namely “A Japanese Lantern” by Norwegian artist, Oda Krohg, with two techniques, point-based microfading spectroscopy and hyperspectral imaging. In this first part, we focus on characterizing the pigments in the painting based on their spectral and fading characteristics. To begin with, using microfading data of a region in the painting, we analyze the color deterioration of the measured points. Then, we train a tensor decomposition model to reduce the measured materials to a spectral basis of unmixed pigments and, at the same time, to recover the fading rate of these endmembers (i.e. pure, unmixed chemical signals). Afterwards, we apply linear regression to predict the fading rate in the future. We validate the quality of these predictions by spectrally comparing them with temporal observations not included in the training part. Furthermore, we statistically assess the goodness of our model in explaining new data, collected from another region of the painting. Finally, we propose a visual way to explore the artist’s palette, where potential matches between endmembers and reference spectral libraries can be evaluated based on three metrics at once.

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Section: Introductionmentioning

confidence: 99%

Tensor decomposition for painting analysis. Part 1: pigment characterization

Ciortan

Poulsson²,

George

et al. 2023

Herit Sci

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Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

et al. 2021

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Optical‐photothermal infrared (O‐PTIR) spectroscopy is a recently developed technique that provides spectra comparable to traditional transmission FTIR spectroscopy with nanometric spatial resolution. Hence, O‐PTIR is a promising candidate for the analysis of historical paintings, as well as other cultural heritage objects, but its potential has not yet been evaluated. This work presents the first application of O‐PTIR to the analysis of cultural heritage, and in particular to an extremely small fragment from Van Gogh's painting L′Arlésienne (portrait of Madame Ginoux). The striking results obtained, including the detection of geranium lake pigments as well as the complete analysis of the stratigraphy, failed with other state‐of‐the‐art techniques, highlight the potential of this method. The integration of O‐PTIR to the study of cultural heritage opens to the possibility of decreasing the amount of sample extracted, therefore contributing to the preservation of the integrity of artworks while providing a complete characterization of the materials.

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Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

et al. 2021

View full text Add to dashboard Cite

Optical-photothermal infrared (O-PTIR) spectroscopyi sarecently developed technique that provides spectra comparable to traditional transmission FTIR spectroscopy with nanometric spatial resolution. Hence,O-PTIR is apromising candidate for the analysis of historical paintings,aswell as other cultural heritage objects,but its potential has not yet been evaluated. This work presents the first application of O-PTIR to the analysis of cultural heritage,a nd in particular to an extremely small fragment from VanG oghsp ainting L'ArlØsienne (portrait of Madame Ginoux). The striking results obtained, including the detection of geranium lake pigments as well as the complete analysis of the stratigraphy,f ailed with other state-of-the-art techniques,h ighlight the potential of this method. The integration of O-PTIR to the study of cultural heritage opens to the possibility of decreasing the amount of sample extracted, therefore contributing to the preservation of the integrity of artworks while providing acomplete characterization of the materials.

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Molecular Fluorescence Imaging Spectroscopy for Mapping Low Concentrations of Red Lake Pigments: Van Gogh's PaintingThe Olive Orchard

Cited by 5 publications

References 21 publications

Tensor decomposition for painting analysis. Part 1: pigment characterization

Tensor decomposition for painting analysis. Part 1: pigment characterization

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

Nanoscale Analysis of Historical Paintings by Means of O‐PTIR Spectroscopy: The Identification of the Organic Particles in L′Arlésienne (Portrait of Madame Ginoux) by Van Gogh

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