Ultraviolet, Visible and Near Infrared Reflectance Spectra of Modern Pictorial Materials in the 200-2500 nm range (Banca dati)

Type
Label
  • Ultraviolet, Visible and Near Infrared Reflectance Spectra of Modern Pictorial Materials in the 200-2500 nm range (Banca dati) (literal)
Anno
  • 2009-01-01T00:00:00+01:00 (literal)
Alternative label
  • Marcello Picollo, Giulia Basilissi, Costanza Cucci, Lorenzo Stefani, Masahiko Tsukada (2009)
    Ultraviolet, Visible and Near Infrared Reflectance Spectra of Modern Pictorial Materials in the 200-2500 nm range
    (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#autori
  • Marcello Picollo, Giulia Basilissi, Costanza Cucci, Lorenzo Stefani, Masahiko Tsukada (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#affiliazioni
  • Institute of Applied Physics \"Nello Carrara\" (IFAC) of the National Research Council (CNR) of Italy, Firenze (I) National Museum of Western Art (NMWA), Tokyo (J) The Metropolitan Museum of Art (MET), New York (USA) (literal)
Titolo
  • Ultraviolet, Visible and Near Infrared Reflectance Spectra of Modern Pictorial Materials in the 200-2500 nm range (literal)
Descrizione sintetica
  • Reflectance spectroscopy in the visible region was applied to the study of paintings for the first time during the decade from 1930 to 1940 [1]. This methodology was subsequently developed at the Conservation Laboratories of the National Gallery, London [2,3]. Starting from the beginning of the Eighties, portable spectrophotometers equipped with optical fibers (FORS) that operate in the visible and near infrared regions have been extensively used and improved at the Applied Spectroscopy Laboratory of the Institute of Applied Physics \"Nello Carrara\" (IFAC, Istituto di Fisica Applicata \"Nello Carrara\" formerly known as IROE, Istituto di Ricerca sulle Onde Elettromagnetiche \"Nello Carrara\") of the National Research Council (CNR) of Italy [4-9]. Reflectance spectroscopy (RS), a non-invasive technique, provides scientists and conservators with useful data for the identification of pigments and for the analysis of color and its variation on paintings. Although several variables may affect the reflectance spectrum acquired from a painting, RS measurements provide, in most cases, information that permits recognition of the spectral features of pigments. The main problem faced in pigment identification, however, is building a suitable database of spectra of artist's materials for comparison. These samples must be prepared as closely as possible following the techniques and pictorial materials used by artists. Therefore, the present database was built with materials selected from those most commonly used in the second part of the 19th century. These pictorial materials were painted out onto rectangular samples of canvas on cardboard support (3 cm x 5 cm) with a kaolin/titanium dioxide (rutile) ground. They were applied as oil paints made from dry pigment/dye ground with linseed oil binding medium as well as purchased in tube. Most of the pigments/dyes were pure, but some of them were a mixture of different pigments/dyes or, in particular for the tube pigments, added with some filler. The chemical composition of the pure powder pigments used for the test samples was checked with X-ray diffraction (XRD), X-ray fluorescence spectroscopy (XRF), and Fourier transform infrared spectroscopy (FTIR) techniques. This collection was prepared in 2005, and the samples were then stored in a dust-free place. This spectra collection is mainly focused on providing information that permits recognition of the spectral features of several pictorial materials. Equipment The reflectance spectra were acquired on the mock-ups using a UV/Vis/NIR double-beam double-monochromator spectrophotometer (Perkin Elmer, model Lambda 1050), equipped with a 60 mm integrating sphere, in the 200-2500 nm range. The integrating sphere is covered with a 99% reflectance Spectralon® surface and has a high sensitivity photomultiplier (PMT) and a Peltier-controlled lead sulfide (PbS) detectors for the 200-860 nm and 861-2500 nm ranges, respectively. The adopted geometrical configuration (0°/d) made it possible to work in diffuse reflectance by collecting the diffusely scattered light, thus avoiding specularly reflected light. Indeed, since it does not interact with the bulk of the investigated matter, this specular component does not carry any information on the actual chemical composition of the analyzed compounds. The depth of penetration of the radiation into the paint layer is related in general to several factors, which depend on the specific compounds analyzed: the refractive index, the absorption coefficient, particle size, and so forth as a function of wavelength. Hence, in the UV region the depth of penetration into the paint layers can be of a few microns while in the NIR region it can easily reach one hundred microns. Acknowledgements The authors wish to thank Mauro Bacci, Andrea Casini, Bruno Radicati (IFAC, Firenze), and Muriel Vervat for their helpful suggestions and discussions. M.T. would like to give special thanks to the Japan Society for the Promotion of Science (JSPS) and the CNR for providing funding. References [1] Barnes N.F.: \"A Spectrophotometric Study of Artists' Pigments\", Technical Studies in the Field of the Fine Arts, 7 (1938), pp. 120-138. [2] Bullock L.: \"Reflectance Spectrophotometry for Measurement of Colour Change\", National Gallery Technical Bulletin, 2 (1978), pp. 49-55. [3] Saunders D. \"The Measurement of Colour Change in Paintings\", European Spectroscopy News, 67 (1986), pp. 10-17. [4] Bacci M., Baldini F., Carlà R., Linari R.: \"A Color Analysis of the Brancacci Chapel Frescoes\", Applied Spectroscopy, 45 (1991), pp. 26-31. [5] Linari R., Picollo M., Radicati B. \"Schede di caratterizzazione di pigmenti usati in pittura\". Technical report I.R.O.E. TR/POE/92.7, Florence (I), (1992). [6] Bacci M., Picollo M. \"Non-destructive detection of Co(II) in paintings and glasses\" Studies in Conservation 41 (1996), pp. 136-144. [7] Bacci M., Picollo M., Trumpy G., Tsukada M., Kunzelman D. \"Non-invasive identification of white pigments on 20th century oil paintings by using fiber optic reflectance spectroscopy\" Journal of the American Institute for Conservation, 46, (2007), pp. 27-37. [8] Bacci M., Magrini D., Picollo M., Trumpy G., Tsukada M., Kunzelman D. \"Modern white pigments: their identification by means of non-invasive ultraviolet, visible and infrared fiber optic reflectance spectroscopy\" in Proceedings of the Modern Paints Uncovered Symposium, Tate modern, London, May 16-19, 2006. Editors T.J.S. Learner, P. Smithen, J.W. Krueger, M. Schilling. The Getty Conservation Institute, Los Angeles, 2007, pp. 118-128. [9] Bacci M., Magrini D., Picollo M., Vervat M. \"A Study of the Blue Colors used by Telemaco Signorini (1835-1901)\" Journal of Cultural Heritage, 10 (2009), pp. 275-280. (literal)
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