Abstract
In this work, two different mid-infrared imaging techniques operating in the 3-5 µm spectral range are applied to the study of three paintings on canvas, dating back to the XVII century, preserved at the Chigi Palace in Ariccia (Italy). A combined approach based on the use of pulsed thermography and mid-infrared reflectography is proposed for the analysis of the ‘Primavera’ by Filippo Lauri and Mario Nuzzi, the ‘Ritratto di Mario Nuzzi che dipinge un vaso di fiori’ by Giovanni Maria Morandi and Mario Nuzzi and the ‘Ebbrezza di Noè’ by Andrea Sacchi. The aim is to show how the integrated use of these techniques enables a depth-resolved investigation of the entire layered structure of the paintings, from the surface up to the canvas support. The complementarity of the presented results allows an evaluation of the conservative status of the support and the detection of graphical and pictorial features hidden beneath the surface layer, such as pentimenti, as these features are important for the historical and artistic characterisation of the artefact.
Highlights
In the study of painted artefacts, important information can be obtained by displaying features hidden under the surface pictorial layers, such as underdrawings and pentimenti
The results obtained in the study of three XVII century paintings on canvas, preserved at the Chigi Palace in Ariccia, are presented
It has been shown how pulsed thermography and mid-infrared reflectography can be successfully used to investigate features lying beneath the surface pictorial layer and, to obtain complementary information about the stratigraphy of a painted artwork
Summary
In the study of painted artefacts, important information can be obtained by displaying features hidden under the surface pictorial layers, such as underdrawings and pentimenti Since this kind of information is often not accessible to the naked eye, nondestructive techniques for the inner inspection of artworks are needed. For this purpose, optical methods based on the use of infrared (IR) radiation are nowadays considered effective tools for the analysis of subsurface features in cultural heritage (CH) [1], [2] items. All these approaches explore the artwork’s layered structure through IR images, which record with increasing resolution and, at increasing cost [10], [11]
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