New insight on the underdrawing of 16th Flemish-Portuguese easel paintings by combined surface analysis and microanalytical techniques

This paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations.The surface analysis of Frei Carlos’ underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (μ-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (μ-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.     

Relics in medieval altarpieces? Combining X‐ray tomographic,laminographic and phase‐contrast imaging to visualize thin organic objects in paintings

X‐ray radiography is a common tool in the study of old master paintings. Transmission imaging can visualize hidden paint layers as well as the structure of the panel or canvas. In some medieval altarpieces, relics seem to have been imbedded in the wooden carrier of paintings. These are most probably thin organic fibrous materials such as paper or textile, which in traditional radiography are shadowed by the more absorbing surrounding material. This paper studies the application potential of synchrotron‐based tomographic and laminographic imaging complemented with phase‐contrast imaging for detection of such relics. The techniques are applied to a dummy painting. The results demonstrate that by using these imaging methods it is possible to three‐dimensionally visualize hidden cavities in panels and detect thin fibrous low‐Z materials sandwiched between a high‐Z paint layer and a thick wooden panel.     

Infrared image analysis and elaboration for archaeology: The case study of a medieval “<Emphasis Type="Italic">capsella</Emphasis>” from Cimitile,Italy

Infrared reflectography, i.e. the use of images taken with infrared light, is currently applied in the field of cultural heritage mainly for paintings analysis to reveal the presence of underdrawings or alterations. Its use in archaeology for deciphering faded signs (texts, images, tattoos, etc.) is a lot more limited and in most cases no or simple data analysis and elaboration is performed. Here we show that infrared reflectography taken by using a wide spectral response (wavelength range from 400 to 2200 nm) VIDICON image acquisition system together with adequate post-elaboration, taking advantage from advanced techniques for data analysis (wavelet decomposition) and image registration and fusion, is able to produce high-quality ‘C&IR’ images. Such images can be obtained in a relatively easy way using the same hardware configuration generally used for infrared reflectographic analysis of paintings. The application to a medieval capsella (a small wooden relics container) from Cimitile, Italy, has shown that these results are of great interest for archaeologists.     

Terahertz imaging for non-destructive evaluation of mural paintings

The feasibility of applying time-domain, terahertz spectroscopic imaging to the evaluation of underdrawings and paint layers embedded within wall paintings is demonstrated. Metallic and dielectric paint patterns and a graphite drawing are resolved through both paint and plaster overlayers using a pulsed-terahertz reflectometer and imaging system. We calculated the bulk refractive indices of four common pigments and used them to confirm color domains in a terahertz-beam spectral image of a painting.     

A new methodology for comparing IR reflectographic systems

IR camera systems can be used for reflectographic analyses to detect and visualize underdrawings in paintings. Five technologies have been compared: CCD Si, FPA InGaAs, FPA HgCdTe and InSb detectors, and a vidicon tube. The comparison has been performed studying the relative contrast measured on homogeneous pictorial layers in infrared regions between 800 and 5000 nm. This comparison was completed through measurements of spectral transmittance (400–2500 nm) made with a spectrometer. The results have been related to the kind of pigment and of medium and to the thickness of the layer. All the systems have been tested also on the field, on paintings belonging to different museums. Some results are discussed.     

西藏扎什伦布寺壁画的科学研究

壁画是寺院建筑的重要装饰元素,也是藏传佛教艺术的重要组成部分。扎什伦布寺始建于明正统12年（公元1447年）,作为后藏最大的寺院,寺内保存了大量精美壁画,这些壁画对研究藏传佛教及佛教艺术具有重要意义。扎什伦布寺自建寺起一直为传播佛教文化服务,经历了频繁的大规模修建。为了解扎什伦布寺壁画的制作材料与工艺,为今后壁画的保护及修复提供重要的参考及科学支撑,选取寺内强巴佛殿四层北壁、吉康扎仓南殿西侧的典型壁画,共采集8个样品。采用超景深三维视频显微镜观察壁画的制作结构,显微激光拉曼光谱仪对有机与无机颜料的成分信息进行表征,偏光显微镜根据晶体的光学信息鉴别拉曼光谱相似的颜料颗粒,X射线衍射仪用于测定地仗成分,扫描电镜/能谱仪则对微观数据进行确认和补充。通过分析研究,壁画由地仗层、准备层、颜料层构成。颜料包括矿物及人工合成颜料,其中红色颜料为朱砂与颜料红14,绿色颜料为块铜矾、酞菁绿,黑色颜料为碳黑,黄色颜料为雌黄,蓝色颜料为合成群青。颜料红14与酞菁绿为有机合成颜料,合成群青则为无机合成颜料。块铜矾作为矿物颜料,在欧洲曾用于架上画、壁画、手稿等艺术作品中,但在国内还未曾发现其使用历史,这一发现扩展了对绿色颜料的认识。壁画的地仗层依据藏式壁画制作传统使用了阿嘎土,准备层则由黄土制备。研究结果表明,壁画制作时以阿嘎土打底,刷一层黄土找平壁面,以胶调和颜料绘制于黄土层之上。壁画除了使用一些常见的传统藏式壁画材料,还发现了一些近代人工合成材料,说明扎什伦布寺强巴佛殿四层北壁及吉康扎仓南殿西侧壁画曾经历过重绘或补绘。该研究结果不仅弥补了扎什伦布寺壁画的研究空缺,也为扎什伦布寺修缮历史的补充及完善提供了重要证据。     

European research platform IPANEMA at the SOLEIL synchrotron for ancient and historical materials

IPANEMA, a research platform devoted to ancient and historical materials (archaeology, cultural heritage, palaeontology and past environments), is currently being set up at the synchrotron facility SOLEIL (Saint‐Aubin, France; SOLEIL opened to users in January 2008). The new platform is open to French, European and international users. The activities of the platform are centred on two main fields: increased support to synchrotron projects on ancient materials and methodological research. The IPANEMA team currently occupies temporary premises at SOLEIL, but the platform comprises construction of a new building that will comply with conservation and environmental standards and of a hard X‐ray imaging beamline today in its conceptual design phase, named PUMA. Since 2008, the team has supported synchrotron works at SOLEIL and at European synchrotron facilities on a range of topics including pigment degradation in paintings, composition of musical instrument varnishes, and provenancing of medieval archaeological ferrous artefacts. Once the platform is fully operational, user support will primarily take place within medium‐term research projects for `hosted' scientists, PhDs and post‐docs. IPANEMA methodological research is focused on advanced two‐dimensional/three‐dimensional imaging and spectroscopy and statistical image analysis, both optimized for ancient materials.     

Development and trends in synchrotron studies of ancient and historical materials

Synchrotron photon-based methods are increasingly being used for the physico-chemical study of ancient and historical materials (archaeology, palaeontology, conservation sciences, palaeo-environments). In particular, parameters such as the high photon flux, the small source size and the low divergence attained at the synchrotron make it a very efficient source for a range of advanced spectroscopy and imaging techniques, adapted to the heterogeneity and great complexity of the materials under study. The continuous tunability of the source — its very extended energy distribution over wide energy domains (meV to keV) with a high intensity — is an essential parameter for techniques based on a very fine tuning of the probing energy to reach high chemical sensitivity such as XANES, EXAFS, STXM, UV/VIS spectrometry, etc. The small source size attained (a few micrometres) at least in the vertical plane leads to spatial coherence of the photon beams, giving rise in turn to a series of imaging methods already crucial to the field. This review of the existing literature shows that microfocused hard X-ray spectroscopy (absorption, fluorescence, diffraction), full-field X-ray tomography and infrared spectroscopy are the leading synchrotron techniques in the field, and presents illustrative examples of the study of ancient and historical materials for the various methods. Fast developing analytical modalities in scanning spectroscopy (STXM, macro-XRF scanning) and novel analytical strategies regarding optics, detectors and other instrumental developments are expected to provide major contributions in the years to come. Other energy domains are increasingly being used or considered such as far-infrared and ultraviolet/visible for spectroscopy and imaging. We discuss the main instrumental developments and perspectives, and their impact for the science being made on ancient materials using synchrotron techniques.     

高光谱成像技术在彩绘文物分析中的研究综述

彩绘文物是文化遗产研究的重要内容之一。目前,许多的化学、光谱以及数字成像等分析技术应用于彩绘文物研究中,其中,高光谱成像技术集光谱分析与成像技术为一体,具有无损、快速成像以及"图谱合一"的特点。其技术特点使得高光谱成像技术在非接触、无样本的条件下对彩绘文物进行无损研究,既可以获得彩绘文物的整体形貌特征,还可以深入分析彩绘文物的光谱特征,是高光谱成像技术相比于其他彩绘文物研究方法的独特优势。利用高光谱成像技术研究彩绘文物分为数据采集、数据分析以及数据应用三步,其中数据分析与数据应用是研究的主要内容。通过对高光谱成像技术在彩绘文物中的相关研究成果进行总结归纳,其数据处理方法主要包括高光谱数据降维、光谱特征参量化、光谱解混合以及分类方法四个方面,并分别描述了四类处理方法的主要功能、常用方法和已有案例。从具体应用方向上,可归纳为视觉增强、隐含信息挖掘、保护监测和颜料分析四类,具体描述了四类应用方向所涵盖的内容以及所解决的问题。最后对相关研究中存在的挑战和发展前景进行了总结和展望。     

Visualizing the 17th century underpainting in Portrait of an Old Man by Rembrandt van Rijn using synchrotron-based scanning macro-XRF

In 17th century Old Master Paintings, the underpainting generally refers to the first sketch of a composition. The underpainting is applied to a prepared ground using a monochrome, brown oil paint to roughly indicate light, shade and contours. So far, methods to visualize the underpainting—other than in localized cross-sections—have been very limited. Neither infrared reflectography nor neutron induced autoradiography have proven to be practical, adequate visualization tools. Thus, although of fundamental interest in the understanding of a painting’s genesis, the underpainting has virtually escaped all imaging efforts. In this contribution we will show that 17th century underpainting may consist of a highly heterogeneous mixture of pigments, including copper pigments. We suggest that this brown pigment mixture is actually the recycled left-over of a palette scraping. With copper as the heaviest exclusive elemental component, we will hence show in a case study on a Portrait of an Old Man attributed to Rembrandt van Rijn how scanning macro-XRF can be used to efficiently visualize the underpainting below the surface painting and how this information can contribute to the discussion of the painting’s authenticity.     

A multi-analytical study of the fifteenth century mural paintings of the Batalha Monastery (Portugal) in view of their conservation

The systematic characterization of the painting’s palette and technique applied on the execution of the mural paintings of the Batalha Monastery (Batalha, Leiria, Portugal) is presented. These are the oldest mural paintings known in Portugal (apart from Roman frescoes) and represent the beginning of an artistic Portuguese tradition that continues until the nineteenth century. The aim of the study was to identify for the first time by adopting a multi-analytical physico-chemical approach of the pigments, binder, and alteration products (white veils, crusts, and pigment alteration) of these unique works of arts in order not only to better understand the painting technique, but also to support a conservation-restoration intervention that took place from April to August 2010. Micro-sampling of paint layers was performed on representative areas of the paintings. The characterization of the pigments and binders was carried out by microscopy and microanalysis of cross sections using optical microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS), micro-FTIR, and micro X-ray diffraction. The combined analysis of the paintings allowed the identification of the painting’s palette: Vermillion (HgS) and red ochre for the reds, yellow ochres for the yellows, green earths and malachite for the greens, azurite for the blues, and carbon for the blacks. The use of the pigment is dependent of the motive painted while the most expensive materials were used in the most important iconographic motives. Alteration of malachite was identified in darkened layers in green areas of the paintings. White veil areas on the surface of the paintings were identified as calcite from precipitation/dissolution processes due to water run-off on the sacristy dome ceiling and walls.     

New insights into René Magritte's early surrealist painting La salle d'armes

Painted in 1925 or 1926, over an older composition, La salle d'armes, is among the first Magritte's surrealist paintings. It is also one of the only four Magritte's using enamels reported in the René Magritte Catalog Raisonné. This paper presents the material and technical study conducted on this double painting. The complementary imaging and analytical methods applied for this purpose provided substantial information on both, the visible image and the hidden one. Concerning the latter, for instance, the obtained results permitted to identify a cubo-futurist oil painting from the very early 1920s.