Noninvasive Analysis of Paintings by Mid‐infrared Hyperspectral Imaging

Rosi, Francesca; Miliani, Costanza; Braun, René; Harig, Roland; Sali, Diego; Brunetti, Brunetto Giovanni; Sgamellotti, Antonio

doi:10.1002/ange.201209929

Cited by 37 publications

(29 citation statements)

References 18 publications

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“…Techniques involved-multispectral reflectography [1][2][3][4][5][6][7][8][9][10][11][12][13][14], colorimetry [15][16][17][18][19][20], laser scanning microprofilometry [21][22][23][24][25][26][27][28][29][30], and optical coherence tomography (OCT) [31][32][33][34][35][36][37][38][39][40][41][42][43][44]-allowed for a non-invasive quantitative analysis of significant alterations resulting from the cleaning process, while enabling the restorer/conservator to objectively assess the overall outcome.…”

Section: Introductionmentioning

confidence: 99%

Application of non-invasive optical monitoring methodologies to follow and record painting cleaning processes

et al. 2015

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The cleaning of painted artworks, i.e. the critical operation whereby materials are selectively removed from a painted surface by partial thinning or complete elimination of varnish, is one of the most debated conservation operations, being an irreversible process, which may result in chromatic and morphological variations in the painted surface. Due to ageing, the upper layer is subject to darkening and yellowing because of blanching and fading from ultraviolet exposure, dust deposition, and overpainted layers due, for instance, to restoration interventions. This degradation can either alter the original appearance of painting polychromy or cause mechanical failure of the finishes. To address these adverse conditions, a process of examination and analysis is critical to the definition and interpretation of the varnish layer. When investigating the ageing process of old paintings, it is of great importance to obtain insight into the painting technique as practiced in the past, and the first step in gaining this knowledge is, to a large extent, based on the study of the varnish film. An effective control of the process and objective evaluation of its outcome requires therefore instrumental/analytical support. The present study illustrates the successful application of non-invasive optical techniques-such as colorimetry, multispectral reflectography, laser scanning micro-profilometry, and optical coherence tomography-to the monitoring of an Italian fourteenth-century painting cleaning process. Results presented here confirm that optical techniques play a pivotal role in artwork diagnostics, especially with regard to conservation operations, while also indicating their validity when applied to the monitoring of the cleaning process.

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Section: Introductionmentioning

confidence: 99%

Application of non-invasive optical monitoring methodologies to follow and record painting cleaning processes

et al. 2015

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“…5,6 The development of macroscale chemical imaging methods has lagged compared to microscale techniques, perhaps because of the lack of analogous industrial or biomedical problems on this scale. 13 In this paper we further explore the utility of NIR reectance imaging spectroscopy to identify and map binders in old master paintings by examining a series of panels painted by Cosimo Tura (ca. 7 For example, a visible and near infrared (NIR) hyperspectral imaging camera is currently in operation around Mars mapping minerals.…”

Section: Introductionmentioning

confidence: 99%

Mapping of egg yolk and animal skin glue paint binders in Early Renaissance paintings using near infrared reflectance imaging spectroscopy

Dooley

Lomax

Zeibel

et al. 2013

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122

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In situ chemical imaging techniques are being developed to provide information on the spatial distribution of artists' pigments used in polychrome works of art such as paintings. The new methods include reflectance imaging spectroscopy and X-ray fluorescence mapping. Results from these new methods have extended the knowledge obtained from site-specific chemical analyses widely in use. While these mapping methods have aided in determining the distribution of pigments, there is a growing interest to develop methods capable of identifying and mapping organic paint binders as well. Near infrared (NIR) reflectance spectroscopy has been extensively used in the remote sensing field as well as in the chemical industry to detect organic compounds. NIR spectroscopy provides a rapid method to assay organics by utilizing vibrational overtones and combination bands of fundamental absorptions that occur in the mid-IR. Here we explore the utility of NIR reflectance imaging spectroscopy to map organic binders in situ by examining a series of panel paintings known to have been painted using distemper (animal skin glue) and tempera (egg yolk) binders as determined by amino acid analysis of samples taken from multiple sites on the panels. In this report we demonstrate the success in identifying and mapping these binders by NIR reflectance imaging spectroscopy in situ. Three of the four panel paintings from Cosimo Tura's The Annunciation with Saint Francis and Saint Louis of Toulouse (ca. 1475) are imaged using a highly sensitive, line-scanning hyperspectral imaging camera. The results show an animal skin glue binder was used for the blue skies and blue robe of the Virgin Mary, and egg yolk tempera was used for the red robes and brown landscape. The mapping results show evidence for the use of both egg yolk and animal skin glue in the faces of the figures. The strongest absorption associated with lipidic egg yolk features visually correlates with areas that appear to have white highlights. The results are in agreement with prior site-specific amino acid analysis, underscoring the synergy of both methods. The work here demonstrates that NIR reflectance imaging spectroscopy is a useful technique that can identify and map paint binding media based on differences in chemical composition.

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“…The instrument allowed for the acquisition of 32 data cubes in 80 s. The acquired data sets allowed in combination with IR spot measurements with an extended spectral range to identify vinyl and acrylic binders and reveal the distribution of a silicate pigment. The instrument's capabilities for subsurface imaging were not discussed [144].…”

Section: Higher Wavelengthsmentioning

confidence: 99%

Mobile depth profiling and sub-surface imaging techniques for historical paintings—A review

Alfeld

Broekaert

2013

Spectrochimica Acta Part B: Atomic Spectroscopy

114

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Noninvasive Analysis of Paintings by Mid‐infrared Hyperspectral Imaging

Cited by 37 publications

References 18 publications

Application of non-invasive optical monitoring methodologies to follow and record painting cleaning processes

Application of non-invasive optical monitoring methodologies to follow and record painting cleaning processes

Mapping of egg yolk and animal skin glue paint binders in Early Renaissance paintings using near infrared reflectance imaging spectroscopy

Mobile depth profiling and sub-surface imaging techniques for historical paintings—A review

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