Reflectance Spectroscopy (RS) and Fiber Optics Reflectance Spectroscopy (FORS) are well-established techniques for the investigation of works of art with particular attention to paintings. Most modern museums put at the disposal of their research groups portable equipment that, together with the intrinsic non-invasiveness of RS and FORS, makes possible the in situ collection of reflectance spectra from the surface of artefacts. The comparison, performed by experts in pigments and painting materials, of the experimental data with databases of reference spectra drives the characterization of the palettes and of the techniques used by the artists. However, this approach requires specific skills and it is time consuming especially if the number of the spectra to be investigated becomes large as is the case of Hyperspectral Reflectance Imaging (HRI) datasets. The HRI experimental setups are multi-dimensional cameras that associate the spectral information, given by the reflectance spectra, with the spatial localization of the spectra over the painted surface. The resulting datasets are 3D-cubes (called hypercubes or data-cubes) where the first two dimensions locate the spectrum over the painting and the third is the spectrum itself (i.e., the reflectance of that point of the painted surface versus the wavelength in the operative range of the detector). The capability of the detector to simultaneously collect a great number of spectra (typically much more than 10,000 for each hypercube) makes the HRI datasets large reservoirs of information and justifies the need for the development of robust and, possibly, automated protocols to analyze the data. After the description of the procedure designed for the data acquisition, we present an analysis method that systematically exploits the potential of the hypercubes. Based on Spectral Angle Mapper (SAM) and on the manipulation of the collected spectra, the algorithm handles and analyzes thousands of spectra while at the same time it supports the user to unveil the features of the samples under investigation. The power of the approach is illustrated by applying it to Quarto Stato, the iconic masterpiece by Giuseppe Pellizza da Volpedo, held in the Museo del Novecento in Milan (Italy).
Caccia, M., Caglio, S., Galli, A., Interlenghi, M., Castiglioni, I., & Martini, M. (2021). Applying Hyperspectral Reflectance Imaging to Investigate the Palettes and the Techniques of Painters. JOURNAL OF VISUALIZED EXPERIMENTS, 2021(172) [10.3791/62202].
|Citazione:||Caccia, M., Caglio, S., Galli, A., Interlenghi, M., Castiglioni, I., & Martini, M. (2021). Applying Hyperspectral Reflectance Imaging to Investigate the Palettes and the Techniques of Painters. JOURNAL OF VISUALIZED EXPERIMENTS, 2021(172) [10.3791/62202].|
|Tipo:||Articolo in rivista - Articolo scientifico|
|Carattere della pubblicazione:||Scientifica|
|Presenza di un coautore afferente ad Istituzioni straniere:||No|
|Titolo:||Applying Hyperspectral Reflectance Imaging to Investigate the Palettes and the Techniques of Painters|
|Autori:||Caccia, M; Caglio, S; Galli, A; Interlenghi, M; Castiglioni, I; Martini, M|
CACCIA, MICHELE (Corresponding)
|Data di pubblicazione:||2021|
|Rivista:||JOURNAL OF VISUALIZED EXPERIMENTS|
|Digital Object Identifier (DOI):||http://dx.doi.org/10.3791/62202|
|Appare nelle tipologie:||01 - Articolo su rivista|