The Contours in the Paintings of the Oranjezaal, Huis ten Bosch

Hommes, Margriet van Eikema

doi:10.1515/9789048505388-008

Cited by 7 publications

(16 citation statements)

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“…However, the H 2 SO 4 pretreatment SERS methodology revealed that a mixture of indigo and PB was used to create the sitter’s blue dress. These findings are consistent with the materials knowledge of the time period because indigo was often mixed with inexpensive PB to serve the needs of merchants and artists . To our knowledge, this work represents the first reported SERS spectra of PB and indigo oil paint as well as the simultaneous detection of a mixture of blue organic and inorganic colorants in a single art sample using SERS.…”

Section: Discussionsupporting

confidence: 88%

“…Indigo has been a treasured blue dye since antiquity. Indigo-dyed linen was used as funerary wardrobe in ancient Egypt, and a growing body of literature has indicated that indigo was used quite commonly in oil paintings . From an analytical standpoint, indigo is difficult to identify in small quantities using methods such as high-perfomance liquid chromatography, Fourier transform infrared and FT-Raman spectroscopies, X-ray diffraction, mass spectrometry, and optical microscopy. , Moreover, indigo detection is especially challenging in historic paint layers because the colorant is fugitive (i.e., prone to fading) and fluorescent and is often found within complex pigment mixtures.…”

mentioning

confidence: 99%

“…Several reports in the conservation literature have shown that indigo is easily confused with the inorganic pigment PB in artists’ paints when visualized under an optical microscope. , PB became a ubiquitous, abundant, and inexpensive blue pigment in the early 18th century . While the presence of the iron-based PB pigment can be determined in many cases using X-ray fluorescence (XRF), this approach is complicated in paints that contain a multilayered system of various iron-containing pigments (e.g., an iron earth ground layer).…”

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confidence: 99%

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Pretreatment Strategies for SERS Analysis of Indigo and Prussian Blue in Aged Painted Surfaces

et al. 2012

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Surface-enhanced Raman scattering (SERS) spectroscopy is increasingly applied to the identification of organic colorants in cultural heritage objects because vibrational fingerprints can be measured from microscopic samples. However, the development of SERS into a reliable, broad-spectrum method for art analysis requires the study of a wide variety of organic and inorganic colorants as well as colorant mixtures in paint. Here, we demonstrate reliable protocols for SERS-based identification of insoluble indigo, Prussian blue (PB), and mixtures thereof in aged painted surfaces. The use of simple salts and acids for sample pretreatment is evaluated. High-quality SERS spectra of PB and indigo are elucidated upon sample pretreatment with H(2)SO(4). In several cases, SERS spectra of the colorants could not be obtained without sample pretreatment. We demonstrate the use of H(2)SO(4) to solubilize PB as well as perform an in situ conversion of insoluble indigo to soluble indigo carmine (IC) on indigo, indigo oil paint, and actual samples from historic painted surfaces. A microscopic H(2)SO(4)-treated sample from the Portrait of Evelyn Byrd produced a SERS spectrum that is consistent with a mixture of PB and IC. To our knowledge, this work represents the first SERS spectrum of indigo in oil paint and the first simultaneous detection of a mixture of blue organic and inorganic colorants in a single art sample using SERS.

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Section: Discussionsupporting

confidence: 88%

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confidence: 99%

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confidence: 99%

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Pretreatment Strategies for SERS Analysis of Indigo and Prussian Blue in Aged Painted Surfaces

et al. 2012

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“…The fading of colors in works of art is a major challenge for the conservation of our cultural heritage . As organic-based “fugitive” dyes and pigments fade upon exposure to light, the aesthetics of the composition as well as the original intention of the artist can be significantly altered. − For example, red lake pigments such as madder lake, created by mixing natural, organic dyes with inorganic mordant salts to form insoluble pigments, were highly prized by artists for centuries despite their propensity to fade . Although madder lake is relatively colorfast compared to other red lakes, its light-induced fading is highly dependent on the molecular composition of the pigment.…”

Section: Introductionmentioning

confidence: 99%

Contributions from Excited-State Proton and Electron Transfer to the Blinking and Photobleaching Dynamics of Alizarin and Purpurin

et al. 2016

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The blinking and photobleaching dynamics of alizarin (1,2dihydroxyanthraquinone) and purpurin (1,2,4-trihydroxyanthraquinone) are investigated using single-molecule spectroscopy. The time-dependent emission of alizarin and purpurin on glass under N 2 is analyzed using the change point detection (CPD) method to compile on-and off-event distributions. The number of distinct emissive events per molecule is about four times higher for alizarin relative to purpurin, consistent with an excited-state intramolecular proton transfer (ESIPT) process to populate an emissive tautomer state. To elucidate the mechanism for blinking (i.e., switching between on and off events), maximum likelihood estimation (MLE), goodness-of-fit tests based on the Kolmogorov−Smirnov (KS) statistic, and the loglikelihood ratio (LLR) tests are used to establish the best fits to the on-and offinterval probability distributions. For both alizarin and purpurin the on intervals are log-normally distributed, and off intervals are Weibull distributed, consistent with a dispersive electron-transfer (ET) kinetics model for blinking (i.e., involving Gaussian-like distributions of activation barriers to ET). Further analysis of the blinking dynamics reveals that ET to a long-lived dark state most often precedes molecular photobleaching, where extended residency in the dark state increases the probability of photobleaching. Based on these findings, mechanisms for the blinking and photobleaching of alizarin and purpurin are proposed. The ability of alizarin to undergo ESIPT enables fast excited-state decay and decreases the probability of ET. In contrast, purpurin exhibits faster injection and slower back ET relative to alizarin, leading to increased photobleaching via a dark radical cation state.

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“…Semantic boundaries in paintings likely have a different, and more varying structure than in photos. Paintings can have ambiguous or fuzzy boundaries between objects or materials [33] which can potentially be problematic for color-based methods. This can be due to variations in artistic style which can emphasize different aspects of depictions -for example, Van Gogh uses lines and edges to create texture, but such edges could potentially appear as boundaries to a segmentation model.…”

Section: Extracting Polygon Segments With Interactive Segmentationmentioning

confidence: 99%

Insights From A Large-Scale Database of Material Depictions In Paintings

Lin¹,

Zuijlen²,

Wijntjes³

et al. 2020

Preprint

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Deep learning has paved the way for strong recognition systems which are often both trained on and applied to natural images. In this paper, we examine the give-and-take relationship between such visual recognition systems and the rich information available in the fine arts. First, we find that visual recognition systems designed for natural images can work surprisingly well on paintings. In particular, we find that interactive segmentation tools can be used to cleanly annotate polygonal segments within paintings, a task which is time consuming to undertake by hand. We also find that FasterRCNN, a model which has been designed for object recognition in natural scenes, can be quickly repurposed for detection of materials in paintings. Second, we show that learning from paintings can be beneficial for neural networks that are intended to be used on natural images. We find that training on paintings instead of natural images can improve the quality of learned features and we further find that a large number of paintings can be a valuable source of test data for evaluating domain adaptation algorithms. Our experiments are based on a novel large-scale annotated database of material depictions in paintings which we detail in a separate manuscript.

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The Contours in the Paintings of the Oranjezaal, Huis ten Bosch

Cited by 7 publications

References 0 publications

Pretreatment Strategies for SERS Analysis of Indigo and Prussian Blue in Aged Painted Surfaces

Pretreatment Strategies for SERS Analysis of Indigo and Prussian Blue in Aged Painted Surfaces

Contributions from Excited-State Proton and Electron Transfer to the Blinking and Photobleaching Dynamics of Alizarin and Purpurin

Insights From A Large-Scale Database of Material Depictions In Paintings

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