Pigment Mapping of the Scream (1893) Based on Hyperspectral Imaging

Deborah, Hilda; George, Sony; Hardeberg, Jon Yngve

doi:10.1007/978-3-319-07998-1_28

Cited by 32 publications

(21 citation statements)

References 11 publications

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“…However, SAM has a drawback in its inability to detect negative correlation between two spectra. This inability can be overcome by using its so-called improvement, Spectral Correlation Mapper (SCM) (de Carvalho Jr. and Meneses 2000), which has also been confirmed in our earlier work on pigment mapping of The Scream (1893) (Deborah, George, and Hardeberg 2014).…”

Section: Spectral Difference Measurementioning

confidence: 67%

“…Spectral Correlation Mapper (SCM) (de Carvalho Jr. and Meneses 2000) is an improvement of SAM, which bases its classification algorithm on correlation between spectra. It is found to be more accurate than SAM since it overcomes the limitation of SAM in detecting negative correlation (Deborah, George, and Hardeberg 2014). Nevertheless, both SAM and SCM have been shown to have limitations in its accuracy (Deborah, Richard, and Hardeberg 2015).…”

Section: Introductionmentioning

confidence: 95%

“…No potential conflict of interest was reported by the authors. In an earlier case study, we have compared the performance of spectral angle mapper (SAM) and spectral correlation mapper (SCM) for mapping the pigments of the front side of The Scream (1893) (Deborah, George, and Hardeberg 2014). In…”

Section: Disclosure Statementmentioning

confidence: 99%

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Spectral-divergence based pigment discrimination and mapping: A case study on The Scream (1893) by Edvard Munch

Deborah

George

Hardeberg

2019

Journal of the American Institute for Conservation

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An important application of imaging spectroscopy or hyperspectral imaging is the classification or discrimination of pigments based on the obtained spectral reflectance information. As opposed to being a point-analysis tool, this non-invasive method captures the entire surface of interest. This means that its potential is not only in the discrimination of pigments but also in their mapping. However, the challenge lies in the fact that in a real painting, there is no clear-cut edge between regions with certain pure pigments or of the exact same mixture. Pigments and other paint materials mix seamlessly and continuously in the physical domain. In this article, we introduce a divergence-based approach to pigment discrimination and mapping. The methodology is then applied to Munch's masterpiece The Scream (1893), whose pigments and materials have been identified for several points in the painting in a previous study. Through the introduced methodology, we have been able to extend the point analyzes of pigments and materials to the entire surface of the painting, recto and verso. RÉSUMÉUne importante application de la spectro-imagerie ou imagerie hyperspectrale est la classification ou la différenciation de pigments en fonction des données de réflectance spectrale obtenues. Contrairement à un instrument d'analyse ponctuel, cette méthode non invasive examine la surface d'intérêt dans son ensemble. Cela signifie que son potentiel n'est pas seulement la différenciation de pigments mais aussi leur cartographie. Cependant, la difficulté réside dans le fait que dans une véritable peinture, il n'y a pas de limite nette entre des zones de pigments purs ou de différents mélanges de ces pigments. Les pigments et autres matériaux constitutifs d'une peinture se mélangent imperceptiblement et continuellement dans le domaine physique. Dans cet article nous présentons une approche basée sur la divergence de spectre pour la différenciation des pigments et leur cartographie. Cette méthodologie est ensuite appliquée au chef-d'oeuvre de Munch Le Cri (1893), dont les pigments et matériaux constitutifs ont été identifiés en plusieurs points de la peinture dans une étude précédente. Grâce à la méthodologie proposée, nous avons pu étendre les analyses ponctuelles de pigments et autres matériaux à l'ensemble de la surface de la peinture, recto et verso. Traduit par Claire Cuyaubère. RESUMOUma aplicação importante da espectroscopia de imagem ou imagem hiperespectral é a classificação ou discriminação de pigmentos com base na informação de refletância espectral obtida. Ao contrário de ser uma ferramenta de análise pontual, esse método não invasivo captura toda a superfície de interesse. Isso significa que seu potencial não está apenas na discriminação de pigmentos, mas também em seu mapeamento. No entanto, o desafio reside no fato de que, em uma pintura real, não há uma borda nítida entre regiões com certos pigmentos puros ou que contenham exatamente a mesma mistura. Pigmentos e outros materiais de pintura se misturam perfeitamente e continuam...

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Section: Spectral Difference Measurementioning

confidence: 67%

Section: Introductionmentioning

confidence: 95%

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Spectral-divergence based pigment discrimination and mapping: A case study on The Scream (1893) by Edvard Munch

Deborah

George

Hardeberg

2019

Journal of the American Institute for Conservation

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“…(b) Vertically-mounted push-broom hyperspectral system with motorized XY axes scanning a painting. Although the use of such equipment within cultural heritage institutions remains relatively rare, an increasing number of studies have made use of such equipment and hyperspectral imaging has successfully been used for a variety of applications including the revealing of otherwise hidden features and areas of lost material (Bacci et al 2005), for materials identi cation and pigment mapping (Delaney et al 2014;Deborah et al 2014) where methods and algorithms from the eld of remote sensing have been applied as well as for documentation and visualization (Pillay 2013).…”

Section: Hyperspectral Imaging For Cultural Heritagementioning

confidence: 99%

Hyperspectral imaging of art: Acquisition and calibration workflows

Pillay

Hardeberg

George

2019

Journal of the American Institute for Conservation

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Hyperspectral imaging has become an increasingly used tool in the analysis of works of art. However, the quality of the acquired data and the processing of that data to produce accurate and reproducible spectral image cubes can be a challenge to many cultural heritage users. The calibration of data that is both spectrally and spatially accurate is an essential step in order to obtain useful and relevant results from hyperspectral imaging. Data that is too noisy or inaccurate will produce sub-optimal results when used for pigment mapping, the detection of hidden features, change detection or for quantitative spectral documentation. To help address this, therefore, we will examine the speci c acquisition and calibration work ows necessary for works of art. These work ows includes the key parameters that must be addressed during acquisition and the essential steps and issues at each of the stages required during post-processing in order to fully calibrate hyperspectral data. In addition we will look in detail at the key issues that a ect data quality and propose practical solutions that can make signi cant di erences to overall hyperspectral image quality.

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“…Originally a remote sensing technique [32] it has been developed over the years for astrophysics, military applications, medical imaging, and more recently for the nondestructive investigation of works of cultural heritage [6,[33][34][35]. HSI has been successfully applied to a range of heritage material including The Declaration of Independence [36] where alterations to text were revealed, and Edvard Munch's "The Scream" where the pigments used were characterised and mapped [37].…”

Section: Hyperspectral Imagingmentioning

confidence: 99%

Comparing the effectiveness of hyperspectral imaging and Raman spectroscopy: a case study on Armenian manuscripts

et al. 2018

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There is great practical and scholarly interest in the identification of pigments in works of art. This paper compares the effectiveness of the widely used Raman Spectroscopy (RS), with hyperspectral imaging (HSI), a reflectance imaging technique, to evaluate the reliability of HSI for the identification of pigments in historic works of art and to ascertain if there are any benefits from using HSI or a combination of both. We undertook a case study based on six Armenian illuminated manuscripts (eleventh-eighteenth centuries CE) in the Bodleian Library, University of Oxford. RS, and HSI (380-1000 nm) were both used to analyse the same 10 folios, with the data then used to test the accuracy and efficiency of HSI against the known results from RS using reflectance spectra reference databases compiled by us for the project. HSI over the wavelength range 380-1000 nm agreed with RS at best 93% of the time, and performance was enhanced using the SFF algorithm and by using a database with many similarities to the articles under analysis. HSI is significantly quicker at scanning large areas, and can be used alongside RS to identify and map large areas of pigment more efficiently than RS alone. HSI therefore has potential for improving the speed of pigment identification across manuscript folios and artwork but must be used in conjunction with a technique such as RS.

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Pigment Mapping of the Scream (1893) Based on Hyperspectral Imaging

Abstract: International audienc

Cited by 32 publications

References 11 publications

Spectral-divergence based pigment discrimination and mapping: A case study on The Scream (1893) by Edvard Munch

Spectral-divergence based pigment discrimination and mapping: A case study on The Scream (1893) by Edvard Munch

Hyperspectral imaging of art: Acquisition and calibration workflows

Comparing the effectiveness of hyperspectral imaging and Raman spectroscopy: a case study on Armenian manuscripts

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