Recent developments in spectroscopic imaging techniques for historical paintings - A review

Alfeld, Matthias; Viguerie, Laurence de

doi:10.1016/j.sab.2017.08.003

Cited by 141 publications

(86 citation statements)

References 163 publications

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“…While broadband infrared reflectance imaging (i.e. infrared reflectography) has been widely used for decades to detect the presence of underdrawings or to better understand pentimenti, diffuse reflectance imaging spectroscopy (RIS) and XRF imaging spectroscopy (MA-XRF) have more recently been used to chemically identify and map artists' materials [12][13][14][15][16][17][18] and to visualize earlier painted compositions hidden below the surface [19][20][21][22][23]. Findings of this type may result in re-thinking the art historical understanding of the development of a work of art.…”

Section: Macroscale Chemical Imaging In Interdisciplinary Researchmentioning

confidence: 99%

Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis

et al. 2018

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Late paintings of Rembrandt van Rijn (1606-1669) offer intriguing problems for both art historians and conservation scientists. In the research presented here, the key question addressed is whether observed stylistic differences in paint handling can be correlated with material differences. In Saul and David, in the collection of the Royal Picture Gallery Mauritshuis in The Hague, NL, the stylistic differences between the loose brushwork of Saul's cloak and the more detailed depiction of his turban and the figure of David have been associated with at least two painting stages since the late 1960s, but the attribution of each stage has been debated in the art historical literature. Stylistic evaluation of the paint handling in the two stages, based on magnified surface examination, is further described here. One of the research goals was to determine whether the stylistic differences could be further differentiated with macroscale and microscale methods of material analysis. To address this, selected areas of the painting having pronounced stylistic differences were investigated with two macroscopic chemical imaging methods, X-ray fluorescence and reflectance imaging spectroscopies. The pigments used were identified and their spatial distribution was mapped. The mapping results show that the passages rendered in more detail and associated stylistically with the first painting stage, such as the orange-red color of David's garment or the Greek key design in Saul's turban, were painted with predominately red ochre mixed with vermilion. The regions of loose, bold brushwork, such as the orange-red slashing strokes in the interior of Saul's cloak, associated with the second painting stage, were painted with predominately red ochre without vermilion. These macroscale imaging results were confirmed and extended with scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX) analysis of three cross-sections taken from regions of stylistic differences associated with the two painting stages, including one sample each from the right and left sleeve of David, and one from the interior of Saul's cloak. SEM-EDX also identified a trace component, barium sulfate, associated with the red ochre of the second stage revisions. Combining mapping information from two spectroscopic imaging methods with localized information from microscopic samples has clearly shown that the stylistic differences observed in the paint handling are affiliated with differences in the chemical composition of the paints.

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Section: Macroscale Chemical Imaging In Interdisciplinary Researchmentioning

confidence: 99%

Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis

et al. 2018

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“…The identification of the medieval organic and inorganic pigments by reflectance, Raman and X-ray fluorescence spectroscopies is now relatively straightforward [1]. More recently the use of imaging techniques [2][3][4][5][6][7] has been demonstrated and discussed on such precious art objects: it is now possible to identify pigments and map them. The successful combination of MA-XRF scanning and reflectance hyperspectral imaging can be of great help for pigment identification in illuminated manuscripts, providing in some cases new clues about their origin or even the identity of the illuminator [3].…”

Section: Introductionmentioning

confidence: 99%

XRF and reflectance hyperspectral imaging on a 15th century illuminated manuscript: combining imaging and quantitative analysis to understand the artist’s technique

et al. 2018

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We present here the combination of in situ non invasive techniques to investigate a precious 15th century illuminated manuscript of Petrarch's work, De remediis utriusque fortunae held in the Méjanes library in Aix-en-Provence (France). X-Ray fluorescence spectroscopy, mapping and point analysis, and visible reflectance hyperspectral imaging allow an unprecedented analysis of this manuscript. They provide new clues for its attribution by revealing a partly hidden coat of arms and describing the illuminator's palette and techniques in detail. We reveal the identity of the first possessor of this manuscript, Tanguy IV du Châtel, known as a 15th century bibliophile close to Louis XI. This information is a further element contributing to the attribution of the richly illuminated folio 6 of this manuscript to François Le Barbier. Pigments and dyes used for this folio have been investigated with particular emphasis on the study of the superimposed colours thus providing a better understanding of the artist's technique and know-how.

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“…[6,7] The most advanced scanning devices for visible near-infrared reflectance imaging cover a 400-2500 nm range. [8,9] Cucci et al [10] have recently surveyed the hyperspectral sensor systems, based on line spectrographs, reporting significant examples of reflectance imaging spectroscopy applications in cultural heritage. Dooley et al [11] demonstrated the complementarity of reflectance and XRF spectroscopic imaging in identification and mapping the pigments in Renaissance paintings.…”

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confidence: 99%

“…The binders can be identified with the high resolution reflectance spectroscopy in the wavelength region above 2000 nm. [8] Moreover, the potential of multimodal (reflectance, luminesce and XRF spectroscopy) imaging with co-registered data in analysis of Greco-roman painting has been validated. [12] Alfeld and Viguerie reviewed developments of the spectroscopic imaging methods and advantages in their joined use for the analyses of historical paintings.…”

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confidence: 99%

“…[12] Alfeld and Viguerie reviewed developments of the spectroscopic imaging methods and advantages in their joined use for the analyses of historical paintings. [8] An alternative to line scanning previously mentioned, a single point detection with catoptric optics enables the acquisition of aberration free images (multispectral imaging) and low-resolution spectroscopy. The current prototype, used here, exploits the latter principle with simultaneous acquisition in visible and nearinfrared range through a single module.…”

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confidence: 99%

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Spectral Imaging and Archival Data in Analysing Madonna of the Rabbit Paintings by Manet and Titian

et al. 2018

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[d] Private practice, formerly Opificio delle Pietre Dure di Firenze, Italy Supporting information for this article is given via a link at the end of the document. Abstract:A concise insight into the outputs provided by the latest prototype of visible-near infrared (VIS-NIR) multispectral scanner (National Research Council-National Institute of Optics, CNR-INO, Italy) is presented. The analytical data acquired on an oil painting Madonna of the Rabbit by É. Manet are described. In this work, the VIS-NIR was complemented with X-ray fluorescence (XRF) mapping for the chemical and spatial characterization of several pigments. The spatially registered VIS-NIR data facilitated their processing by spectral correlation mapping (SCM) and artificial neural network (ANN) algorithm respectively for pigment mapping and improved visibility of pentimenti and of underdrawing style. The data provided several key elements for the comparison with a homonymous original work by Titian studied within the ARCHive LABoratory (ARCHLAB) transnational access project.

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Recent developments in spectroscopic imaging techniques for historical paintings - A review

Cited by 141 publications

References 163 publications

Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis

Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis

XRF and reflectance hyperspectral imaging on a 15th century illuminated manuscript: combining imaging and quantitative analysis to understand the artist’s technique

Spectral Imaging and Archival Data in Analysing Madonna of the Rabbit Paintings by Manet and Titian

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