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/anie.201209929

Cited by 85 publications

(32 citation statements)

References 18 publications

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“…This complementarity was recently underscored during the examination of a painting by R. Magritte, called Le Portrait Also in the mid infrared (MIR) range, a tendency towards hyperspectral imaging and even full spectrum recording at all pixel positions is discernable. Promising results have been recently reported by Rosi et al [42] using a novel hyperspectral imaging system (Hi90, Bruker Optics), originally developed for the remote identification and mapping of hazardous compounds. It is based on a focal-plane array mercury cadmium telluride (FPA-MCT) detector having 256×256 pixels.…”

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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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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“…Information on the nature and distribution of pigments and binders can be gained by using a range of mapping techniques operating in the visible and UV [8], mid-IR [9,10] and near-IR [11] regions or based on Raman scattering [12], X-ray fluorescence (XRF) [13][14][15][16] or X-ray diffraction (XRD) [17]. These techniques entail the acquisition or rendering of a spectrum for each point mapped on the surface of the object (one spectrum per pixel) followed by computer processing of the large data cube to generate maps with contrasts based on the varying signal intensity and thus abundance of the materials being targeted, generally chemical elements or compounds.…”

Section: Introductionmentioning

confidence: 99%

Jackson Pollock’s Number 1A, 1948: a non-invasive study using macro-x-ray fluorescence mapping (MA-XRF) and multivariate curve resolution-alternating least squares (MCR-ALS) analysis

et al. 2016

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Jackson Pollock's Number 1A, 1948 painting was investigated using in situ scanning macro-x-ray fluorescence mapping (MA-XRF) to help characterize the artist's materials and his creative process. A multivariate curve resolution-alternating least squares (MCR-ALS) approach was used to examine the hyperspectral data and obtain distribution maps and signature spectra for the paints he used. The composition of the paints was elucidated based on the chemical elements identified in the signature spectra and a tentative list of pigments, fillers and other additives is proposed for eleven different paints and for the canvas. The paint distribution maps were used to virtually reconstruct the artist process and document the sequence and manner in which Pollock applied the different paints, using deliberate and specific gestures.

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“…Recent advances in macro-X-ray fluorescence (macro-XRF) mapping (Dik et al 2008;Alfeld et al 2013a, b) and infrared (IR), ultraviolet/visible (UV/vis), and hyperspectral imaging (Delaney et al 2010(Delaney et al , 2014Ricciardi et al 2012;Dooley et al 2013;Rosi et al 2013) have opened up exciting opportunities to track the distribution of pigments over the entire surface of a painted object. However, X-ray techniques are most successful at mapping inorganic pigments and are not able to map organic compounds, with the notable exception of eosin (tetrabromofluorescein, also known as geranium lake, a pigment extensively used by Vincent van Gogh).…”

Section: Introductionmentioning

confidence: 99%

Surface-Enhanced Raman Spectroscopy: Using Nanoparticles to Detect Trace Amounts of Colorants in Works of Art

Pozzi

Zaleski

Casadio

et al. 2016

Nanoscience and Cultural Heritage

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In recent years, powerful physical processes occurring in the vicinity of nanoscale metal surfaces have been exploited in the art world for the detection of trace amounts of colorants with surface-enhanced Raman spectroscopy (SERS). With this technique, naturally occurring and man-made organic molecules used as dyes and pigments in objects from antiquity to the present day are being detected with high molecular specificity and unprecedented sensitivity. This chapter reviews the broad spectrum of SERS analytical methodologies and instrumental improvements that have been developed over the years in the field of cultural heritage science, and discusses significant case studies within different types of works of art and archaeological artifacts.

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Noninvasive Analysis of Paintings by Mid‐infrared Hyperspectral Imaging

Cited by 85 publications

References 18 publications

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

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

Jackson Pollock’s Number 1A, 1948: a non-invasive study using macro-x-ray fluorescence mapping (MA-XRF) and multivariate curve resolution-alternating least squares (MCR-ALS) analysis

Surface-Enhanced Raman Spectroscopy: Using Nanoparticles to Detect Trace Amounts of Colorants in Works of Art

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