http://www.cnr.it/ontology/cnr/individuo/prodotto/ID48502
In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach (Articolo in rivista)
- Type
- Label
- In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach (Articolo in rivista) (literal)
- Anno
- 2010-01-01T00:00:00+01:00 (literal)
- Alternative label
Miliani, C.; Rosi, F.; Brunetti, B. G.; Sgamellotti, A. (2010)
In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach
in Accounts of chemical research
(literal)
- Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#autori
- Miliani, C.; Rosi, F.; Brunetti, B. G.; Sgamellotti, A. (literal)
- Pagina inizio
- Pagina fine
- Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#numeroVolume
- Rivista
- Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#note
- DOI: 10.1021/ar100010t (literal)
- Note
- ISI Web of Science (WOS) (literal)
- Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#affiliazioni
- [Miliani, Costanza; Brunetti, Brunetto Giovanni; Sgamellotti, Antonio] Univ Perugia, Dipartimento Chim, Ist CNR Sci & Tecnol Mol CNR ISTM, I-06123 Perugia, Italy (literal)
- Titolo
- In Situ Noninvasive Study of Artworks: The MOLAB Multitechnique Approach (literal)
- Abstract
- Driven by the need to study precious and irreplaceable artworks without
compromising their integrity, researchers have undertaken numerous
efforts to develop noninvasive analytical tools and methodologies that
can provide a chemical description of cultural heritage materials
without any contact with the object. The challenge is that artworks are
made of complex mixtures, often with heterogeneous and unknown layered
materials. Their components must be identified over a range of size
scales, from the molecular identification of constituent compounds to
the mapping of alteration phases.
In this Account, we review recent research in spectroscopic techniques
accessible from the mobile laboratory (MOLAB). The lab is equipped with
an array of state-of-the-art, portable, and noninvasive instruments
specifically tailored to tackle the different issues confronted by
archaeologists, curators, and conservators. The MOLAB approach is
suitable for studying a variety of objects, from ceramics to
manuscripts or from historical wall paintings to contemporary canvases.
We begin by discussing issues related to the acquisition and
interpretation of reflectance or backscattered spectra from the surface
of heterogeneous materials. Then we show how the selectivity needed for
the noninvasive identification of pigments in paintings, even in
mixtures or in layered matrices, can be acquired by combining elemental
information from X-ray fluorescence with molecular and structural
insights from electronic and vibrational spectroscopies. Discriminating
between original pigments and restoration retouches is possible, even
when both comprise similar chromophores, as highlighted in the study of
paintings by Jordaens and Raphael. The noninvasive approach permits the
examination of a very large number of artworks with a virtually
limitless number of measurements. Thus, unexpected and uncommon
features may be uncovered, as in the case of a lead pyroantimonate
yellow doped with zinc that was discovered by micro-Raman and X-ray
fluorescence on an Italian Renaissance majolica. For characterizing
binding media, we discuss the strengths and limitations of using mid-
and near-FTIR (Fourier transform infrared) spectroscopies supported by
a multivariate statistical analysis, detailing the study of organic
materials in a wall painting by Perugino and a survey of the painting
technique on 18 contemporary paintings by Burn. In Michelangelo's
David, we show how the noninvasive mapping of contaminants and
alteration phases might inform decisions on preventive conservation
plans.
The multitechnique MOLAB approach overcomes the intrinsic limitation of
individual spectroscopic methods. Moreover, the ability to analyze
artworks without the need to move them is an invaluable asset in the
study and preservation of cultural heritage. (literal)
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