Integrating expert feedback on the spot in a time-efficient explorative CT scanning workflow for cultural heritage objects

Bossema, Francien G.; Coban, Sophia Bethany; Kostenko, Alexander; Duin, Paul van; Dorscheid, Jan; Garachon, Isabelle; Hermens, Erma; Liere, Robert van; Batenburg, K. Joost

doi:10.1016/j.culher.2021.03.004

Cited by 25 publications

(12 citation statements)

References 48 publications

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“…The scan of the Holy woman with lantern of the Rijksmuseum, Amsterdam, shows that this method makes it possible to record and digitize complex shapes and show the internal structure (Figure 7). Furthermore, they show that surface scans can be added to the CT data, thus overcoming the issue that CT scanning does not record the object's material appearance [41,42].…”

Section: Computed Tomography (Ct)mentioning

confidence: 99%

3D Printing and the Art World: Current Developments and Future Perspectives

Tissen¹

2023

Advances in 3D Printing

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3D printing’s rapid technological development is starting to impact the art field because, for the first time, it has become possible to exactly reproduce and reconstruct artworks without any loss of their physical features. Yet, a coherent overview of how 3D printing is used within the art field while paying attention to ethical considerations does not exist. This study will provide an overview of the current developments of 3D printing in the art world, its use, and the direction it is moving toward. Within this study, the technologies that enable, influence, and will continue to affect the 3D reproduction of artworks, namely technologies necessary to capture an artwork’s materials on a chemical and physical level, artificial intelligence (AI), 3D printing technology itself, and the rise of the non-fungible token (NFT) are analyzed to be able to understand what 3D printing implies for our changing perception of art in the future.

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Section: Computed Tomography (Ct)mentioning

confidence: 99%

3D Printing and the Art World: Current Developments and Future Perspectives

Tissen¹

2023

Advances in 3D Printing

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“…La segunda subetapa está asociada a la tomografía computarizada clínica basada en tecnología multicorte (TCM). Se sabe que durante años ha sido utilizada en el ámbito médico (Longo et al 2019), no obstante, por sus características no invasivas ni destructivas también se ha aplicado con éxito al estudio de los artefactos del patrimonio cultural (Parisi et al 2016), así como para la localización de estructuras significativas localizadas hacia el interior del bien en estudio (Longo et al 2019;Bossema et al 2021).…”

Section: C) Etapa 3: Caracterizaciónunclassified

La Piedra fundacional de la iglesia de San Blas (Cuenca, Ecuador). Diagnóstico interdisciplinar y orientaciones de conservación

Ullauri

Mendieta

Sánchez

2022

GEC

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El presente trabajo expone el contexto histórico y estado de conservación de la piedra fundacional de la iglesia colonial de San Blas, edificio antecesor del existente. Al tratarse de un artefacto imprescindible para comprender la historia local y la lógica de aprovechamiento de los recursos del territorio, se recurre a diversos procesos investigativos para la determinación de su origen geológico y estado de conservación. La investigación bibliográfica y analítica mediante técnicas no invasivas (tomografía computarizada multicorte, petrografía mediante lámina delgada, microdifracción de rayos X, microscopía electrónica de barrido y fotogrametría), permiten determinar que, se trata de una caliza bioclástica de color amarillento posiblemente procedente de la formación Loyola (El Descanso, Azuay, Ecuador), aunque tiene semejanza con otras rocas como las areniscas o las lutitas. En su estado actual es un monolito compacto, sin fracturas internas o externas, pese a la irregularidad de las superficies y las condiciones agrestes a las cuales se enfrentó por varias décadas. Este marco proyecta un contexto de conservación preventiva capaz de catalogar y valorar afecciones desde la relación gravedad-probabilidad.

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“…The scan of the Cadmus panel was carried out in January 2020 in vertical-tiling orientation (Fig 3A ) and following the workflow proposed by [37]. As only a small part stays in the view vertically, it is important to choose a region that contains as little metal as possible, i.e.…”

Section: Scanning the Painting And Reconstructing The Imagesmentioning

confidence: 99%

X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

et al. 2021

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Dating the wood from historical art objects is a crucial step to ascertain their production time, and support or refute attribution to an artist or a workshop. Dendrochronology is commonly used for this purpose but requires access to the tree-ring pattern in the wood, which can be hindered by preparatory layers, polychromy, wax, or integrated frames. Here we implemented non-invasive dendrochronology based on X-ray computed tomography (CT) to examine a painting on panel attributed to Rubens’ studio and its presumed dating around 1636 CE. The CT images achieved a resolution of 37.3 micron and revealed a double panelling, which was concealed by oak strips covering all four edges. The back (visible) board is made of deciduous oak (Quercus subg. Quercus), the most common type of wood used in 17th-century Netherlandish workshops, and was dated terminus post quem after 1557 CE. However, the front (original) board used for the painting has been identified through examination of the wood anatomy as a tropical wood, probably Swietenia sp., a species seldom used in Netherlandish paintings, and remains undated. Its very presence attests the global character of 17th-century trade, and demonstrates the use of exotic species in Flemish studios. The date of the oak board refutes previous results and suggests that this board was trimmed to meet the size of the tropical one, having been glued to it for conservation purposes or with deceiving intentions to pretend that the painting was made on an oak panel. These revelations have opened new lines of art historical inquiry and highlight the potential of X-ray CT as a powerful tool for non-invasive study of historical art objects to retrieve their full history.

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Integrating expert feedback on the spot in a time-efficient explorative CT scanning workflow for cultural heritage objects

Cited by 25 publications

References 48 publications

3D Printing and the Art World: Current Developments and Future Perspectives

3D Printing and the Art World: Current Developments and Future Perspectives

La Piedra fundacional de la iglesia de San Blas (Cuenca, Ecuador). Diagnóstico interdisciplinar y orientaciones de conservación

X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

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