Chromatic Image: a New Imaging Method for the Examination of Works of Art
DOI:
https://doi.org/10.23738/CCSJ.160204Keywords:
technical imaging, chromatic image, image processing, preliminary examination, forensic imagingAbstract
This study introduces a cost-effective and accessible tool, the chromatic image, specifically designed to amplify the visual features of an image during the preliminary stages of the analysis of an art object. The chromatic image enhances the visualization of subtle hues often unnoticeable in traditional colour images. The method involves processing a high-resolution colour image using its chromatic channels (a* and b*) from the CIE Lab colour space. This creates a new image that highlights variations in hues independent of tonal values. This initial research research investigates the application of the chromatic image on easel paintings and works on paper. Results demonstrate the technique's effectiveness in revealing details in shadowed areas, enhancing the readability of red chalk drawings, and potentially aiding in damage detection. The method also holds promise for studying brushwork and areas reworked by the artist. This new tool offers a valuable and accessible addition to the toolkits of art historians, scientists and conservators alike, paving the way for further investigation using more advanced techniques.
References
Adobe (2023) Photoshop User Guide: Make quick tonal adjustments. Available at: https://helpx.adobe.com/content/help/en/photoshop/using/making-quick-tonal-adjustments.html (Accessed: 19 June 2024).
Adobe (2024) Photoshop User Guide: Blending modes. Available at: https://helpx.adobe.com/content/help/en/photoshop/using/blending-modes.html (Accessed: 26 May 2024).
Berns, R.S. (2016) Color Science and the Visual Arts: A Guide for Conservators, Curators, and the Curious. Getty Publications.
Cubero, A.V. (2010) ‘Una aproximación metodológica en el análisis de las obras de arte’.
Daffara, C. and Fontana, R. (2011) ‘Multispectral infrared reflectography to differentiate features in paintings’, Microscopy and Microanalysis, 17(5), pp. 691–695. Available at: https://doi.org/10.1017/S1431927611000031.
Fowler, C. (2019) ‘Technical Art History as Method’, The Art Bulletin, 101(4), pp. 8–17. Available at: https://doi.org/10.1080/00043079.2019.1602446.
Jaskierny, D.M. (2021) ‘Technical entry of Jean Siméon Chardin, “Still Life with Cat and Fish”, 1728’, in A.M. DeGalan (ed.) French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. Kansas City: The Nelson-Atkins Museum of Art. Available at: https://doi.org/10.37764/78973.5.310.
Kim, G. et al. (2019) ‘Image-Based Quantitative Analysis of Foxing Stains on Old Printed Paper Documents’, Heritage, 2(3), pp. 2665–2677. Available at: https://doi.org/10.3390/heritage2030164.
Legnaioli, S. et al. (2013) ‘Recovery of archaeological wall paintings using novel multispectral imaging approaches’, Heritage Science, 1(1), p. 33. Available at: https://doi.org/10.1186/2050-7445-1-33.
Nehring, G., Girard, S. and Rabin, I. (2024) ‘Conservation and Technical Evaluation of an Early Medieval Papyrus Codex’, Studies in Conservation, 69(2), pp. 77–87. Available at: https://doi.org/10.1080/00393630.2023.2183554.
Plaisted, P. (2011) ‘The Reference White in Adobe Photoshop Lab Mode’, Color-Image.com, 29 October. Available at: https://color-image.com/2011/10/the-reference-white-in-adobe-photoshop-lab-mode/ (Accessed: 15 April 2024).
Pronti, L. et al. (2019) ‘Post-Processing of VIS, NIR, and SWIR Multispectral Images of Paintings. New Discovery on the The Drunkenness of Noah, Painted by Andrea Sacchi, Stored at Palazzo Chigi (Ariccia, Rome)’, Heritage, 2(3), pp. 2275–2286. Available at: https://doi.org/10.3390/heritage2030139.
Rabin, J. (2004) ‘Quantification of color vision with cone contrast sensitivity’, Visual Neuroscience, 21(3), pp. 483–485. Available at: https://doi.org/10.1017/S0952523804213128.
von Saint-George, C. and Lewerentz, K. (2008) Gustave Caillebotte – Garden in Trouville, Brief Report on Technology and Condition, Research Project Painting Techniques of Impressionism and Postimpressionism. Köln. Available at: https://forschungsprojekt-impressionismus.de/detail.aspx?lang=en&pg=&kat=kuenstler&id=31&iid=63.
Strlič, M. et al. (2013) ‘Damage functions in heritage science’, Studies in Conservation, 58(2), pp. 80–87. Available at: https://doi.org/10.1179/2047058412Y.0000000073.
Webb, K. (2019) ‘UV-Induced Visible Luminescence for Conservation Documentation’, in M. Picollo, M. Stols-witlox, and L. Fuster-Lopez (eds) UV-Vis Luminescence imaging techniques/ Técnicas de imagen de luminiscencia UV-Vis. Valencia: Editorial Universitat Politècnica de València (Conservation 360, 1), pp. 35–60. Available at: https://doi.org/10.4995/360.2019.110002.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Camilla Perondi
This work is licensed under a Creative Commons Attribution 4.0 International License.
The "Cultura e Scienza del Colore - Color Culture and Science" journal is registered at the Court of Milan at n.233 of 24.06.2014.
The journal is an open access journal, free for readers and authors and has joined ROAD, the Directory of Open Access scholarly Resources, since 2014. Articles published in the “Cultura e Scienza del Colore - Color Culture and Science" journal are open access articles, distributed under the terms and conditions of the Creative Commons Attribution License (CC BY). The copyright is retained by the author(s).