In recent years, in situ noninvasive spectroscopy has played an increasingly important role in art conservation. Spectroscopic methods can be used to gain a deep understanding of the material composition of art objects while fully respecting their integrity and value. Considerable improvements in detector technology, instrument–computer interfacing, focusing optics, and the performance of radiation sources have been made in the spectroscopic field and have led to the development and successful application of a series of noninvasive and portable analytical tools for point examination. In this context, current scientific interest is focused on the development of mapping/imaging multi-/hyperspectral methods, since area examination naturally meets the demands of a holistic art-historical approach by revealing not only the chemical composition of painting materials but also their semiquantitative spatial distribution with respect to what is visible to the naked eye. Recently, the possibility of mapping elemental distribution on paintings by means of a portable scanning macro X-ray fluorescence device was demonstrated to be useful for the investigation of the materials used by artists. The molecular identification and spatial distribution of a number of pigments can be inferred from reflection imaging in the visible (Vis: 400–750 nm) and near-infrared regions (NIR: 750–2500 nm) by combining information on electronic transitions in the visible range with overtone and combination vibrational bands in the near-infrared range which are associated with inorganic pigments containing hydroxy groups, such as lead white, azurite, and gypsum. The identification and mapping of organic compounds is a challenge for the noninvasive analysis of artworks. In comparison with inorganic pigments and fillers, there is a larger variety of organic compounds, and they are present in smaller amounts and more subject to chemical alteration. If both traditional and modern art are taken into consideration, just some of the organic compounds to be identified and localized may include: drying oils, proteins, acrylics, alkyds, polyvinyl acetates, natural and synthetic waxes, terpene resins, and natural and synthetic dyes. Recently, Ricciardi et al. demonstrated the potential of hyperspectral imaging in the NIR region (10000–4000 cm ) to discriminate between lipid and proteinaceous binders on illuminated manuscripts on the basis of the vibrational combination/overtone bands of methylene groups and amides. In contrast, the mid-infrared (MIR) range has not yet been exploited for the spatially resolved remote study of artworks, although the MIR range (4000–600 cm ) has proved to be very informative for the identification of artists materials by noninvasive point analysis 12] or microinvasively by cross-section imaging. Herein, we describe the potential of imaging MIR spectroscopy for painting analysis through the application of a novel hyperspectral imaging system (HI90, Bruker Optics). The system developed for the remote identification and mapping of hazardous compounds was adapted in this study for reflection measurements of paintings by the use of an external infrared radiation source. The subject of our study was a painting by Alberto Burri, Sestante 10 (1982), which is currently exhibited at the Ex-Seccatoi del Tabacco (Perugia, Italy). Three areas (ca. 9 9 cm) of the large painting (250 360 cm) were analyzed on site with the HI90 system. We also investigated several points within the same areas noninvasively with a portable FTIR spectrometer (Alpha-R, Bruker Optics) to validate the assignment made on the basis of the HI90 spectral data. In Figure 1a, the visible image of the investigated area I of Sestante 10 is shown. The resulting brightness temperature difference images in Figure 1b,c clearly highlight the use of a different binder for the orange sector to that used for the other sectors. More precisely, the image depicted in Figure 1b shows the false-color representation of the difference in the mean brightness temperature for a peak in the signature of the orange area (1154–1167 cm ) and the mean brightness temperature for a frequency range in which the reflectance is lower (1197–1209 cm ; see range (b) in Figure 1d). The area in the brightness temperature image in Figure 1b indicates the presence of an acrylic binder, as suggested by a comparison with the spectrum recorded with the HI90 instrument [*] Dr. F. Rosi, Dr. C. Miliani Istituto di Scienze e Tecnologie Molecolari CNR-ISTM, SMAArt Via Elce di sotto, 9 Perugia 06123 (Italy) E-mail: costanza.miliani@cnr.it
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