Research & lab
Whether a work is genuine or fake can be assessed using a variety of methods:
- Genuine experts on painting styles and materials recognise fakes by, among other things, unlikely choices of subject, brush technique, artistic quality, combinations of material, and a whole series of other elements. Quite often, research using advanced techniques is required to determine the characteristics of the materials used. Particular combinations of pigment and binder can sometimes make it clear that a work could not have been produced in a specific period.
- Chemical analyses of paints, varnishes and the age of wood and canvas can be definitive when it comes to ascribing a painting to a particular period.
- Art-historical research can figure out a painting’s origin.
Non-destructive analyses such as X-ray analysis (in which the presence of specific radiation-absorbing pigments such as white lead is detected), infrared analysis (in which invisible IR light penetrates deep into the darker paint layers and makes underdrawings, and thereby a drawing style, visible) and ultraviolet fluorescence (in which invisible UV illuminates particular pigments and thus gives an indication of the substances present) can provide important clues.
Using an advanced camera inspection system that was developed and enhanced by IPARC, research in spaces that cannot be seen or reached with the naked eye is enabled using a technique involving no or minimal destructive impact. The information feed of the camera inspection will present an image of the current condition and provide scientific data on the climatological conditions.
This inspection method is more efficient compared to conventional inspection techniques. The information feed is in real time allowing for direct reading without further (time consuming) interpretation.
Inspection with a camera probe
- This method of analysis is minimally intrusive and uses a minimal destructive technique which is being used to map organic and inorganic damage in places that are hard to reach such as in historical dwellings, churches, behind paneling and furniture.
- Camera inspection of moveable and immovable heritage is performed with an endoscopic camera.
- The camera feed is subsequently edited in order to represent the interesting and relevant footage.
- Answering each specific research request, a photograph of each relevant image is provided. The quality of the photograph is naturally dependent on the size of the picture but we do focus on maximal legibility.
- After analyzing the damage picture, the wood restoration team – associating with the polychromy restoration team if needed – will formulate a corrective or preventive treatment.
Multi spectral imagery
Because of budgetary restrictions, smaller institutions and organisations cannot usually obtain access to scientific developments and innovations pertaining to imagery and microscopy.
IPARC wants to facilitate access to sustainable scientific innovation for those professionals involved with the study, research, evaluation/conservation of art objects.
The results of the research however are also easily transferred to the field of public and educational interest by integrating it into apps. As such the research comes to life and actively contributes to building a broader base directly resulting in an increased interest in conservation- and restoration projects.
The above-mentioned techniques can be used for (preliminary) research, damage assessment and the documentation of art objects. These techniques can be realized both in the IPARC-lab and in situ.
Which kind of multispectral imagery?
- VIS (Visible Photography front and back) provides the actual images of a painting and will be used as a neutral standard to which other multispectral images will be compared
- RAK (Raking Light) meticulously documents craquelures, loss of pictorial layers as well as providing insight in the painting techniques, s.a. brush marks and instruments used
- UVF (Ultraviolet Fluorescence) identifies old and new layers of varnish and enables us to discriminate the original areas from the retouchings
- UVR (Ultraviolet Reflected) accomplishes precise mapping of faded inks
- IRR (Infrared Reflectography) gives an extremely detailed image of underdrawing. Intensive processing of the images is imperative however (mosaicking)
- IRFC (Infrared False Colour) allows for an estimate of the relative amount of retouchings
- IRF (Infrared Fluorescence) localizes certain materials or pigments like cadmium
- IRTR (Infrared Transmitted) in some cases provides better visuals of the undersigning and the pentimenti but also offers a view on loss or on layers of painting that are impenetrable for infrared light
- VSTR (Visible Transmitted) visualizes loss and layers of paint by contrasting transparent and opaque effects in visible light
- RTI (Reflectance Transformation Imaging)/PTM (Polynominal Texture Mapping): RTI is a computerized method of photography that enables the visualisation of the surface area and the colour of an object. It allows for an interactive illumination from every angle. This method is an absolute asset to the method of direct empirical research
- MACRO-XRF IPARC has expanded its services into the field om Macro-XRF scanning and analysis which uses both X-ray and fluorescent spectroscopy. This non-destructive method offers a two dimensional image of the dispersion of chemical elements is ideal for studying hidden layers of paint, changes that have been made during the creation or revealing earlier restorations. Macro-XRF thus provides a unique insight in the creative process of the artist.
High resolution images
With the help of the Gigapan EPIC Pro panoramic images of objects can be made. The results are best compared to GIGA-pixel images which were produced in the context of the Google Art project.
These images – which can also be made with IRR or UV-camera’s – allow us to zoom in on the image. As such, the technique can be used not only for the visualization of collections but also to communicate the progress of a restoration project using a f.e. a project-website.