Abstract
The experience of an object derives not only from the sight but also from the touch: a tactile exploration can reveal the smallest information trapped within the surface up to our tactile detective threshold. Starting from the importance of this observation in the case of works of art, this research demonstrates the use of conoscopic holography sensors for high-quality acquisition of the surface of artworks (up to the micro-scale) suitable also to 3D printing. The purpose is twofold, allowing for the tactile use of the artwork, which is otherwise impossible, for visually impaired people and for new use in regard to scientific information purposes. In detail, the workflow to obtain a 3D printed replica of multiscale and polychrome artworks suitable for the haptic fruition is validated, but the potential of the tool as an innovative resource for scientific visualization of the microsurface of the artwork for conservation issues is also demonstrated. The validation was performed on notable Italian masterpieces, such as Donatello’s “Death Cristh” bronze relief in Padua and the Tintoretto painting “St. Martial in Glory with the Saints Peter and Paul” in Venice.
Highlights
Introduction and BackgroundOur museums and churches have plenty of wonderful works of art exposed to the people that observe them by walking around
Starting from the importance of this observation in the case of works of art, this research demonstrates the use of conoscopic holography sensors for high-quality acquisition of the surface of artworks suitable to 3D printing
We have proposed and validated a method for scientific exploration and haptic fruition of the microsurface of artworks based on optical scanning profilometry
Summary
Our museums and churches have plenty of wonderful works of art exposed to the people that observe them by walking around. Paul Klee said that “the work of art is, above all, a process of creation”, and this process is enclosed mostly by the “surface” of the artwork. The structure of the surface, in this case, is the result of the whole contributions, from the smooth deformation of the support to the asperities of the painting layer, to incisions and brushstrokes [3]. The surface is the most vulnerable part of the artwork because it is in contact with the external environment, making a piece of art a continuously changing system. The surface microstructure contains information about the decay due to microclimate interactions, such as crack patterns and detachments, or the modifications induced by restoration intervention, such as traces of cleaning treatments [4,5,6]
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