Sensori di impatto per l’ambiente museale

Il problema della corretta conservazione delle collezioni d’arte e della gestione dell’ambiente museale è alquanto complesso, poiché coinvolge istanze diverse e talvolta antagoniste. Schematizzando, da un lato è necessario garantire la massima fruibilità delle opere, favorendone l’accessibilità ad un pubblico sempre più ampio e allestendo gli ambienti in modo da ottimizzare la visibilità dei manufatti ed il benessere dei visitatori; d’altro canto è indispensabile proteggere gli oggetti esposti dal degrado indotto dai fattori ambientali (luce, fluttuazioni in temperatura ed umidità, inquinanti atmosferici veicolati anche dal pubblico, etc. ), e creare condizioni ambientali idonee alla conservazione dei manufatti [ ]. La soluzione di compromesso è in genere tutt’altro che ovvia, poiché gli oggetti d’arte sono complessi e compositi, e le indicazioni per una loro corretta conservazione variano da caso a caso, secondo la tipologia dei materiali che li costituiscono. In molti casi le condizioni ambientali ideali per gli oggetti sono di fatto incompatibili con quelle più adeguate per il pubblico, sia in termini di illuminazione che di microclima. Inoltre, è ormai assodato che l’alta frequenza di visitatori è associata ad un ulteriore incremento degli inquinanti atmosferici, (già presenti outdoor), senz’altro dannosi per i manufatti esposti

Chapter A New Compact VNIR Hyperspectral Imaging System for Non-Invasive Analysis in the FineArt and Architecture Fields

A new compact Specim IQ hyperspectral camera working in the 400-1000 nm range has been launched on the market. Its use in the investigation of different artworks and under diverse environmental conditions will be presented

How good are RGB cameras retrieving colors of natural scenes and paintings?—A study based on hyperspectral imaging

RGB digital cameras (RGB) compress the spectral information into a trichromatic system capable of approximately representing the actual colors of objects. Although RGB digital cameras follow the same compression philosophy as the human eye (OBS), the spectral sensitivity is different. To what extent they provide the same chromatic experiences is still an open question, especially with complex images. We addressed this question by comparing the actual colors derived from spectral imaging with those obtained with RGB cameras. The data from hyperspectral imaging of 50 natural scenes and 89 paintings was used to estimate the chromatic differences between OBS and RGB. The corresponding color errors were estimated and analyzed in the color spaces CIELAB (using the color difference formulas ΔE*ab and CIEDE2000), Jzazbz, and iCAM06. In CIELAB the most frequent error (using ΔE*ab) found was 5 for both paintings and natural scenes, a similarity that held for the other spaces tested. In addition, the distribution of errors across the color space shows that the errors are small in the achromatic region and increase with saturation. Overall, the results indicate that the chromatic errors estimated are close to the acceptance error and therefore RGB digital cameras are able to produce quite realistic colors of complex scenarios.This work was supported by the Portuguese Foundation for Science and Technology (FCT) in the framework of the Strategic Funding UIDB/04650/2020

A multidisciplinary approach to the investigation of "La Caverna dell'Antimateria" (1958–1959) by Pinot Gallizio

Background: This study concerns the application of non-invasive and micro-invasive analyses for the study of a contemporary artwork entitled La Caverna dell'Antimateria ("The Cave of Antimatter") which was created by Pinot Gallizio in 1958–1959. The work represents one of the most significant examples of industrial painting. It consists of a total of 145 meters of painted canvas, designed in order to cover the entire floor plan of the Rene Drouin gallery in Paris, where it was displayed for the first time. Gallizio wanted to create an environment in which visitors could find themselves immersed in painting, in what he termed as a "work-environment". Non-invasive (Fibre Optic Reflectance Spectroscopy) and micro-invasive analyses (Fourier Transform Infrared and micro-Raman Spectroscopies, Pyrolysis-Gas Chromatography and Gas Chromatography/Mass Spectrometry) were performed on three of the canvases which constitute this work of art in order to obtain information regarding the artistic materials used by Gallizio. Results: Pigments and unconventional materials (such as metal wires, sand) are present in the canvases that form the ceiling. The colours are unevenly distributed on the surface, thus revealing large areas of the white preparation below. In the canvas of the wall, instead, the paint is applied more uniformly and gives a dark colour cast. The analytical results led to the identification of many of the materials used by Gallizio. The pictorial palette consists of both inorganic and organic pigments, while polyvinylacetate, pure or mixed with a siccative oil, was identified as a binder thus confirming what was reported by the artist in his notes. Conclusions: The results of this research provide information concerning the artistic technique used by Pinot Gallizio. The analyses were successfully performed both in situ and on micro-samples in order to characterise the pigments of the coloured area, the ground layer and the organic binders

Sensori di impatto per l\u27ambiente museale

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Hyper-Spectral Imaging Technique in the Cultural Heritage Field: New Possible Scenarios

Imaging spectroscopy technique was introduced in the cultural heritage field in the 1990s, when a multi-spectral imaging system based on a Vidicon camera was used to identify and map pigments in paintings. Since then, with continuous improvements in imaging technology, the quality of spectroscopic information in the acquired imaging data has greatly increased. Moreover, with the progressive transition from multispectral to hyperspectral imaging techniques, numerous new applicative perspectives have become possible, ranging from non-invasive monitoring to high-quality documentation, such as mapping and characterization of polychrome and multi-material surfaces of cultural properties. This article provides a brief overview of recent developments in the rapidly evolving applications of hyperspectral imaging in this field. The fundamentals of the various strategies, that have been developed for applying this technique to different types of artworks are discussed, together with some examples of recent applications

Assessing Laser Cleaning of a Limestone Monument by Fiber Optics Reflectance Spectroscopy (FORS) and Visible and Near-Infrared (VNIR) Hyperspectral Imaging (HSI)

Fiber optics reflectance spectroscopy (FORS) and visible and near-infrared (VNIR) hyperspectral imaging (HSI) were applied to assess and control the laser cleaning process of a deeply darkened limestone surface collected from the historic entrance gate of Castello Svevo, Bari, Italy. Both techniques enabled us to verify the different degree of removal of a thick deposit of black crust from the surface of the walls. Results obtained were in good agreement with those of previous studies of the elemental composition achieved by application of laser-induced breakdown spectroscopy (LIBS). Coupling FORS and VNIR-HSI provided important information on the optimal conditions to evaluate the conservation status and determine the more appropriate level of cleaning restoration, thus avoiding over- and/or under-cleaning. Imaging spectroscopy was used to obtain maps of areas featuring the same or different spectral characteristics, so to achieve a sufficient removal of unwanted layers, without modifying the surface underneath, and to increase the efficiency of traditional cleaning techniques. The performance of the combined non-invasive approach used in this work shows promise for further applications to other types of rocks and highlights the potential for in situ assessment of the laser cleaning process based on reflectance spectroscopy

A Novel Transmittance Vis–NIR Hyper-Spectral Imaging Scanner for Analysis of Photographic Negatives: A Potential Tool for Photography Conservation

This work illustrates a novel prototype of a transmittance hyperspectral imaging (HSI) scanner, operating in the 400–900 nm range, and designed on purpose for non-invasive analysis of photographic materials, such as negatives, films and slides. The instrument provides high-quality spectral data and high-definition spectral images on targets of small size (e.g., 35 mm film strips) and is the first example of HSI instrumentation specifically designed for applications in the photographic conservation field. The instrument was tested in laboratory and on a set of specimens selected from a damaged photographic archive. This experimentation, though preliminary, demonstrated the soundness of a technical approach based on HSI for large-scale spectroscopic characterization of photographic archival materials. The obtained results encourage the continuation of experimentation of HSI as an advanced tool for photography conservation

Innovative Sensors for Environmental Monitoring in Museums

Different physical and chemical factors, such as light, temperature, relative humidity, pollutants and so on, can affect works of art on display. Each factor does not act individually, but its effect can be enhanced or accelerated by the presence of other factors. Accordingly, an evaluation of the impact of the whole environment on art objects is recognized as an essential requirement for conservation purposes. To meet the most up-todate guidelines on preventive conservation, in recent years several scientific projects supported by the EC were aimed at developing innovative tools that could complement the standard methods for environmental monitoring in museums. These research projects produced a new generation of passive sensors that are capable of taking into account the overall environmental effects by mimicking in some way the behaviour of real works of art. The main goal of the present paper is to provide a survey of these sensors, which represent a new frontier in the environmental control in museums. Furthermore, the use of optical fibres, as both intrinsic sensors and devices for interrogating sensors, will also be illustrated, and examples of their use in the cultural heritage field will be reported