A Multiwavelength Approach for the Study of Contemporary Painting Materials by Means of Fluorescence Imaging Techniques: An Integration to Spectroscopic Methods

Margherita Longoni · Alessia Buttarelli · Marco Gargano · Silvia Bruni

12 citations0/0 files storedApplied Sciences

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Cultural Heritage Materials Analysis Spectroscopy and Chemometric Analyses Conservation Techniques and Studies

Abstract

Imaging methods based on visible luminescence induced by ultraviolet (UV) radiation are well consolidated in the investigation of ancient works of art, to map varnishes, retouches, and possibly some pigments. As far as contemporary art is involved, the wide range of synthetic materials, especially pigments, introduced from 1850 onwards, makes the possible application of the technique particularly challenging. Among the colouring substances used by artists in the 19th and 20th centuries, only cadmium-based pigments received attention due to their typical near-infrared luminescence. Nevertheless, the fluorescence emission exhibited by several synthetic pigments upon visible excitation was recently demonstrated and confirmed using UV radiation in the present work. The subsequent possibility of individuating such materials in paintings by ultraviolet fluorescence (UVF) images was explored on mock-up painting samples of a wide series of pigments dispersed in oil or acrylic binder. Visible and infrared luminescence images obtained by irradiating with visible radiation (VIVF and VIL) were also collected. It was thus evidenced the possible advantage of the choice of a different excitation wavelength in discriminating between the contributions of pigment and binder. Finally, a recent oil painting on panel was also examined as case study.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 12 citations exist upstream.

References

2008Synthetic organic pigments of the 20th and 21st century relevant to artist's paints: Raman spectra reference collection 2009The spatially resolved characterisation of Egyptian blue, Han blue and Han purple by photo-induced luminescence digital imaging 2006A Review of the Classes, Structures, and Methods of Analysis of Synthetic Organic Pigments 2015Practical notes on ultraviolet technical photography for art examination 2015UV–Vis-NIR and micro Raman spectroscopies for the non destructive identification of Cd 1−x Zn x S solid solutions in cadmium yellow pigments 2011Near-Infrared Luminescence of Cadmium Pigments: In situ Identification and Mapping in Paintings 1982Fluorescence of Paint and Varnish Layers (Part I)2016Application of forensic photography for the detection and mapping of Egyptian blue and madder lake in Hellenistic polychrome terracottas based on their photophysical properties

Cited by

2022From Materials to Technique: A Complete Non-Invasive Investigation of a Group of Six Ukiyo-E Japanese Woodblock Prints of the Oriental Art Museum E. Chiossone (Genoa, Italy)

Explore the map →

Papers that cite the same references — the relational fallback while embeddings are still backfilling.

Imported from OpenAlex (CC0) — nothing here is generated.