Revealing the sfumato Technique of Leonardo da Vinci by X‐Ray Fluorescence Spectroscopy

Abstract

Not just a pretty face: Non‐invasive X‐ray fluorescence spectroscopy was used to reveal the sfumato paint layer stacking method that was used by Leonardo da Vinci to paint the faces in seven of his paintings. A strong diversity in his technique could clearly be seen with this method.

X, UV et particules au service du Patrimoine Culturel

“…4). Les résultats montrent une évolution de la technique avec la mise en évidence de la présence de glacis (de quelques m à 50 m d'épaisseur) à base d'oxydes de fer et de manganèse à partir de 1500 [8]. Plus récemment, un diffractomètre portable a été associé à la fluorescence X, ce qui a permis l'investigation hors laboratoire de plusieurs tableaux de Rembrandt, L. de Vinci, Van Gogh, Mantegna, etc.…”

Experimental study for the feasibility of using hard x-rays for micro-XRF analysis of multilayered metals

“…5 In addition to ordinary accurate description of the measurement system this code allows up to 10 layers of the matrix to be examined, each one with its own hypothetical density, thickness, and composition, as well as their fluorescence contributions to be unfolded. In literature some examples of its employment applied to different materials like paintings 7 are already available. 6 In the case of a gilded metal, a two-layered materials a Electronic mail: claudia.polese@lnf.infn.it; Also at DICMA, Univ.…”

Behind the art

“…Back in 2010, they uncovered the technique that Leonardo da Vinci used to paint the Mona Lisa's subtle smile through X-ray fluorescence spectroscopy 1 ; da Vinci achieved his trademark sfumato ('smoky') shading by mixing different thicknesses of glaze, most likely with his fingers, a technique developed by fifteenth-century northern European oil painters such as Jan van Eyck. In their Commentary on page 106 of this issue 2 , they showcase the progress achieved in the past 20 years in understanding the materials and processes used in paintings, thanks to tremendous advances in non-invasive instrumentation and the expansion of the community of materials scientists interested in cultural heritage.…”