Near Infrared Reflectance Imaging Spectroscopy to Map Paint Binders In Situ on Illuminated Manuscripts

Ricciardi, Paola; Delaney, John K.; Facini, Michelle; Zeibel, Jason G.; Picollo, Marcello; Lomax, Suzanne Quillen; Loew, Murray H.

doi:10.1002/ange.201200840

Cited by 16 publications

(15 citation statements)

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“…endmembers), the image cube was processed using hyperspectral algorithms developed for the analysis of remote sensing data [20] and found useful for analyzing image cubes of paintings and manuscripts [4,15,16,18]. Because of the large number of reflectance spectra in the image cube, multivariate statistics were used to reduce the dimensionality of the data.…”

Section: Methodsmentioning

confidence: 99%

“…These features are often related to functional groups like hydroxyl (−OH) and carbonate (−CO 3 ) [7]. Absorption features from organic materials like the paint binding media, including the amide groups of proteins and lipid bands of oils and waxes, can also be observed [14] and even used to map their spatial distribution [15,16].…”

Section: Introductionmentioning

confidence: 99%

“…However, to discriminate between pigments having sharp transition edges, such as red and yellow semiconductor pigments, a resolution of <5 nm may be necessary. In the SWIR region, the required resolution should be <10 nm in order to resolve the narrow vibrational bands associated with some binding media [14][15][16]. X-ray fluorescence, in contrast, provides information on the elemental composition of materials and allows one to infer the possible colorants present [17].…”

Section: Introductionmentioning

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%

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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: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

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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“…) range [37][38][39][40][41]. The system incorporates a scan mirror, an imaging lens, a transmission grating spectrometer + relay lens and a cryo-cooled (640 × 512 pixel) InSb sensor.…”

Section: Methods Based On Infrared Radiationmentioning

confidence: 99%

Examination of historical paintings by state-of-the-art hyperspectral imaging methods: from scanning infra-red spectroscopy to computed X-ray laminography

et al. 2014

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The development of advanced methods for non-destructive selective imaging of painted works of art at the macroscopic level based on radiation in the X-ray and infrared range of the electromagnetic spectrum are concisely reviewed. Such methods allow to either record depth-selective, element-selective or species-selective images of entire paintings. Camera-based 'full field' methods (that record the image data in parallel) can be discerned next to scanning methods (that build up distributions in a sequential manner by scanning a beam of radiation over the surface of an artefact). Six methods are discussed: on the one hand, macroscopic X-ray fluorescence and X-ray diffraction imaging and X-ray laminography and on the other hand macroscopic Mid and Near Infrared hyper-and full spectral imaging and Optical Coherence Tomography. These methods can be considered to be improved versions of the well-established imaging methods employed worldwide for examination of paintings, i.e., X-ray radiography and Infrared reflectography. Possibilities and limitations of these new imaging techniques are outlined.

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Multispectral and Hyperspectral Imaging of Artworks

Ricciardi¹,

Delaney

2018

The Encyclopedia of Archaeological Sciences

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Multi‐ and hyperspectral imaging consists in the capture of a number of images of the same object in a series of spectral bands, thus providing spectral information across the area imaged. First developed in the mid‐1980s for remote mapping of minerals on the Earth's surface, these methods are being increasingly used to study artworks, especially low‐relief polychrome objects such as easel and wall paintings, works on paper and parchment, but also historic textiles and different types of plastics. Often used in combination with other spectroscopic or imaging methods, multi‐ and hyperspectral imaging are rapidly becoming indispensable tools for conservators and cultural heritage scientists. They allow identification and mapping of artists' materials, notably pigments and paint binders; detection of nonoriginal materials and retouched areas; and visualization of information which is hidden underneath the surface of the work of art.

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Near Infrared Reflectance Imaging Spectroscopy to Map Paint Binders In Situ on Illuminated Manuscripts

Cited by 16 publications

References 14 publications

Visible and infrared imaging spectroscopy of paintings and improved reflectography

Visible and infrared imaging spectroscopy of paintings and improved reflectography

Examination of historical paintings by state-of-the-art hyperspectral imaging methods: from scanning infra-red spectroscopy to computed X-ray laminography

Multispectral and Hyperspectral Imaging of Artworks

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