“…[2] Today modern chemistry has gained ac rucial role in heritage science,aresearch field, spanning humanities and natural sciences,t hat focuses on the understanding,c onservation and management of cultural heritage.I nt his vivid context, ar enewed cross-disciplinary interest for the impact of light on artists materials has recently been triggered by technical innovations in museum lighting and artwork restoration. [3] Ad eep comprehension of the photochemical processes underpinning changes in artists materials is sought to offer:1 )a solid framework to develop preventive conservation strategies through the selection of optimal lighting conditions; [4] 2) (semi)quantitative compositional data to predict the original artistic intended appearance of an artwork before discoloration and propose its digital reconstructions. [5] On the other hand, heritage materials with their often unknown and heterogeneous compositions and unmonitored long-term modifications represent highly complex systems.…”
The absorption of light gives a pigment its colour and its reason for being, but it also creates excited states, that is, new molecules with an energy excess that can be dissipated through degradation pathways. Photodegradation processes provoke long-term, cumulative and irreversible colour changes (fading, darkening, blanching) of which the prediction and prevention are challenging tasks. Of all the environmental risks that affect heritage materials, light exposure is the only one that cannot be controlled without any impact on the optimal display of the exhibit. Light-induced alterations are not only associated with the pigment itself but also with its interactions with support/binder and, in turn, are further complicated by the nature of the environmental conditions. In this Minireview we investigate how chemistry, encompassing multi-scale analytical investigations of works of art, computational modelling and physical and chemical studies contributes to improve our prediction of artwork appearance before degradation and to establish effective preventive conservation strategies.
“…[2] Today modern chemistry has gained ac rucial role in heritage science,aresearch field, spanning humanities and natural sciences,t hat focuses on the understanding,c onservation and management of cultural heritage.I nt his vivid context, ar enewed cross-disciplinary interest for the impact of light on artists materials has recently been triggered by technical innovations in museum lighting and artwork restoration. [3] Ad eep comprehension of the photochemical processes underpinning changes in artists materials is sought to offer:1 )a solid framework to develop preventive conservation strategies through the selection of optimal lighting conditions; [4] 2) (semi)quantitative compositional data to predict the original artistic intended appearance of an artwork before discoloration and propose its digital reconstructions. [5] On the other hand, heritage materials with their often unknown and heterogeneous compositions and unmonitored long-term modifications represent highly complex systems.…”
The absorption of light gives a pigment its colour and its reason for being, but it also creates excited states, that is, new molecules with an energy excess that can be dissipated through degradation pathways. Photodegradation processes provoke long-term, cumulative and irreversible colour changes (fading, darkening, blanching) of which the prediction and prevention are challenging tasks. Of all the environmental risks that affect heritage materials, light exposure is the only one that cannot be controlled without any impact on the optimal display of the exhibit. Light-induced alterations are not only associated with the pigment itself but also with its interactions with support/binder and, in turn, are further complicated by the nature of the environmental conditions. In this Minireview we investigate how chemistry, encompassing multi-scale analytical investigations of works of art, computational modelling and physical and chemical studies contributes to improve our prediction of artwork appearance before degradation and to establish effective preventive conservation strategies.
“…In den späten 1880er Jahren, nach der Installation künstlicher Beleuchtung im South Kensington Museum (heute Victoria and Albert Museum, London), entbrannte eine çffentliche Debatte über das Verblassen von Wasserfarben in englischen Kunstsammlungen. [3] Ein tiefgreifendes Verständnis der photochemischen Prozesse,d ie Veränderungen in Kunstmaterialien zugrundeliegen, sollte folgende Resultate hervorbringen:1 )e in solides Rahmenkonzept zur Entwicklung von Konservierungsstrategien durch Wahl der optimalen Beleuchtungsbedingungen; [4] 2) (semi)quantitative Daten der Zusammensetzung,a us denen das ursprüngliche Erscheinungsbild des Kunstwerks vor der Farbausbleichung rekapituliert und dessen digitale Rekonstruktion vorgeschlagen werden kann. W. de W. Abney,"um die wissenschaftliche Frage der Wirkung des Lichtes auf die verschiedenen Pigmente zu erforschen, die in Gemälden benutzt werden."…”
Section: Einführungunclassified
“…In diesem Kontext haben jüngst technische Innovationen in der Museumsbeleuchtung und der Restaurierung von Kunstwerken ein neuerliches,d isziplinübergreifendes Interesse an den Auswirkungen von Licht auf Kunstmaterialien ausgelçst. [3] Ein tiefgreifendes Verständnis der photochemischen Prozesse,d ie Veränderungen in Kunstmaterialien zugrundeliegen, sollte folgende Resultate hervorbringen:1 )e in solides Rahmenkonzept zur Entwicklung von Konservierungsstrategien durch Wahl der optimalen Beleuchtungsbedingungen; [4] 2) (semi)quantitative Daten der Zusammensetzung,a us denen das ursprüngliche Erscheinungsbild des Kunstwerks vor der Farbausbleichung rekapituliert und dessen digitale Rekonstruktion vorgeschlagen werden kann. [5] Zu bedenken ist, dass historische Kunstge-genstände,m it ihren oftmals unbekannten und heterogenen Zusammensetzungen und nicht dokumentierten Umgestaltungen im Laufe der Zeit, hoch komplexe System darstellen.…”
Die Absorption von Licht verleiht Pigmenten ihre Farbe – und damit den Grund ihrer Existenz –, erzeugt aber auch angeregte Zustände, d. h. neue Moleküle mit einem Energieüberschuss, der über Abbauwege dissipiert werden kann. Photoabbauprozesse rufen langfristige, kumulierte und irreversible Farbveränderungen hervor (Verblassung, Dunklung, Ausbleichung), deren Prognose und Verhinderung schwierige Herausforderungen darstellen. Von all den Umweltrisiken, die Kulturgüter beeinträchtigen, ist Lichteinfall das einzige, das nicht ohne Auswirkungen auf die optimale Präsentation des Ausstellungsstücks reguliert werden kann. Lichtinduzierte Veränderungen betreffen nicht nur die Pigmente selbst, sondern auch ihre Wechselwirkungen mit dem Trägermaterial und Bindemittel und werden selbst wiederum durch die Umgebungsbedingungen verkompliziert. In diesem Kurzaufsatz untersuchen wir, wie Chemie (insbesondere in Form mehrskaliger analytischer Studien von Kunstwerken), Computermodellierung und physikalische/chemische Studien dazu beitragen können, die ursprünglichen Erscheinungsbilder von Kunstwerken zu rekonstruieren und wirksame Konservierungsstrategien zu etablieren.
“…Several authors have studied LED illumination for museums in terms of its color appearance. However, as pointed out in a study by Garside et al [8], although illumination is a key factor in museum management, there is a lack of either standardization or sharing of best practices. This leads to a great variability in the illumination selection process.…”
This work presents a spectral color-imaging procedure for the detailed colorimetric study of real artworks under arbitrary illuminants. The results demonstrate this approach to be a powerful tool for art and heritage professionals when deciding which illumination to use in museums, or which conservation or restoration techniques best maintain the color appearance of the original piece under any illuminant. Spectral imaging technology overcomes the limitations of common area-based point-measurement devices such as spectrophotometers, allowing a local study either pixelwise or by selected areas. To our knowledge, this is the first study available that uses the proposed CIE (Commission Internationale de l’Éclairage) light-emitting diode (LED) illuminants in the context of art and heritage science, comparing them with the three main CIE illuminants A, D50, and D65. For this, the corresponding colors under D65 have been calculated using a chromatic adaptation transform analogous to the one in CIECAM02. For the sample studied, the CIE LED illuminants with the lowest average CIEDE2000 color differences from the standard CIE illuminants are LED-V1 for A and LED-V2 for D50 and D65, with 1.23, 1.07, and 1.57 units, respectively. The work studied is a Moorish epigraphic frieze of plasterwork with a tiled skirting from the Nasrid period (12th–15th centuries) exhibited in the Museum of the Alhambra (Granada, Spain).
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