Museum lighting: Optimizing the illuminant

Scuello, Michael; Abramov, Israel; Gordon, James; Weintraub, Steven H.

doi:10.1002/col.10231

Cited by 49 publications

(38 citation statements)

References 11 publications

(10 reference statements)

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“…Furthermore, the appearance of blues are often more sensitive to lighting properties than other colors. 22 Including this range of blues is a significant difference when compared with research using printed reproductions 5,6,12,14 in which phthalocyanine blue is used exclusively, a pigment that is fairly robust to changes in lighting.…”

Section: Artist Materials Datasetmentioning

confidence: 98%

“…Advances in reflector properties have led to incandescent tungstenhalogen multifaceted reflector (MR) lamps that can achieve CCTs of 5000 K. 4 Thus, it is possible to use conventional spot illumination with a range of CCTs. Scuello et al 5,6 performed visual experiments evaluating printed reproductions of artwork; they found that observers preferred a CCT of 3600 K for lighting ranging between 2500 and 7000 K at an illuminance of 200 lx. The dominant lighting for the display of art remains natural daylight and incandescent.…”

Section: Introductionmentioning

confidence: 99%

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Designing white‐light LED lighting for the display of art: A feasibility study

Berns

2010

Color Research & Application

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When displaying art, several criteria must be balanced when designing illumination including the artist's intention, damage, energy efficiency, viewing experience and understanding, and for commercial galleries and sales. The most common lighting for art includes natural daylight and incandescent spotlights. Neither source is optimal for all criteria; thus there is considerable interest in the use of whitelight light-emitting diode (LED) lighting. A feasibility study was conducted to address two questions. First, was it possible to design a three-primary LED source that yielded the same color rendering as common museum lighting? Second, could one design the lighting to achieve specific color appearance attributes? Three-primary lights using a Gaussian function were optimized matching the chromaticity of D65 and minimizing color differences for a set of acrylic dispersion paints. The optimal wavelengths depended on bandwidth. Lights were also optimized that either maximized or minimized average chroma. A set of real LEDs was selected that produced similar results when evaluated computationally. A source that increases chroma may be useful when used to illuminate works of art with high light sensitivity: very low illuminances are necessary and such a source will compensate for the reduction of colorfulness and visual clarity. A source that decreases chroma may be used to render art in similar fashion to low-light conditions such as churches and caves. In general, white LED lighting is advantageous for art conservation because they do not emit UV and IR radiation and their visible radiation is reduced when compared with their continuous spectrum equivalent.

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Section: Artist Materials Datasetmentioning

confidence: 98%

Section: Introductionmentioning

confidence: 99%

Designing white‐light LED lighting for the display of art: A feasibility study

Berns

2010

Color Research & Application

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“…Based on these facts one might conclude that, for museum lighting, one should select a light source with not too high a CCT, e.g. 3000 K to 3500 K and low illumination (Scuello et al came to the conclusion that observers preferred 3600 K and 200 lx for a mock-up museum gallery with post-card size images 17 ), and try to use a SPD that will provide a colour perception for the pigments under these conditions as would be the case under daylight and much higher illumination, i.e. one should base the calculation on a proper chromatic adaptation transformation.…”

Section: The Reference Illuminantmentioning

confidence: 99%

Colour fidelity for picture gallery illumination, Part 1: Determining the optimum light-emitting diode spectrum

Schanda

Csuti

Szabó

2014

Lighting Research & Technology

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Colour rendering for picture gallery lighting means colour fidelity, showing the colours of the pictures as seen by the painter in the light he used in creating the pictures. As up to the beginning of the 20th century illuminance high enough for good colour vision was possible only in daylight, daylight would be the optimum illuminant. For art preservation and energy saving reasons this is not feasible. Museums often use light of 3500 K correlated colour temperature (CCT). A method is described that takes chromatic adaptation into consideration to determine the spectral power distribution producing least colour distortion of object colours while changing from a higher adaptation luminance at 6500 K to 3500 K illumination at a lower adaptation luminance. The method can be used for any CCT and adaptation luminance values.

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“…Empirical studies have shown that observers prefer daylight illumination with specific correlated colour temperatures (CCT) to render artistic paintings (Scuello et al. , 2004; Pinto et al.…”

Section: Introductionmentioning

confidence: 99%

Chromatic effects of metamers of D65 on art paintings

Pinto

Felgueiras

Linhares

et al. 2010

Ophthalmic Physiologic Optic

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The visual impression of an artistic painting is influenced both by the colour and by the specific spectral structure of the rendering light source. The relationship between illuminant spectral structure and visual appearance assumes particular relevance with the advent of light sources with almost arbitrary spectral distribution, like modern LED based lighting. The aim of this work was to study, computationally, chromatic effects on paintings of illuminants with the same colour as D65 but different spectral profile. Hyperspectral data from twenty oil paintings were used in the analysis. A large collection of metamers of D65 was generated and the radiance reflected from each pixel of the paintings was estimated for each of the metamers. The number of discernible colours produced for each painting and illuminant was computed, and correlated with the spectral structure of the metamers. It was found that the number of colours generated varied considerably across the collection of metamers and that the metamers producing more colours were spectrally more structured, that is, less uniform. This result suggests that it may be beneficial to explore appropriate spectral tuning in practical illumination.

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Museum lighting: Optimizing the illuminant

Abstract: Museums must choose illumination that will optimize observers' aesthetic experiences without compromis

Cited by 49 publications

References 11 publications

Designing white‐light LED lighting for the display of art: A feasibility study

Designing white‐light LED lighting for the display of art: A feasibility study

Colour fidelity for picture gallery illumination, Part 1: Determining the optimum light-emitting diode spectrum

Chromatic effects of metamers of D65 on art paintings

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