Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring

Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. Ausführliche Beschreibung

Gespeichert in:

Autor*in:	Delaney, John K. [verfasserIn] Dooley, Kathryn A. van Loon, Annelies Vandivere, Abbie

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2020

Schlagwörter:	Reflectance imaging spectroscopy Fluorescence imaging spectroscopy X-ray fluorescence MA-XRF Pigment Vermeer

Anmerkung:	© The Author(s) 2020

Übergeordnetes Werk:	Enthalten in: Heritage Science - London : Chemistry Central, 2013, 8(2020), 1 vom: 07. Jan.
Übergeordnetes Werk:	volume:8 ; year:2020 ; number:1 ; day:07 ; month:01

Links:	Volltext

DOI / URN:	10.1186/s40494-019-0348-9

Katalog-ID:	SPR036532975

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allfields	10.1186/s40494-019-0348-9 doi (DE-627)SPR036532975 (SPR)s40494-019-0348-9-e DE-627 ger DE-627 rakwb eng Delaney, John K. verfasserin aut Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier © The Author(s) 2020 Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. Reflectance imaging spectroscopy (dpeaa)DE-He213 Fluorescence imaging spectroscopy (dpeaa)DE-He213 X-ray fluorescence (dpeaa)DE-He213 MA-XRF (dpeaa)DE-He213 Pigment (dpeaa)DE-He213 Vermeer (dpeaa)DE-He213 Dooley, Kathryn A. aut van Loon, Annelies aut Vandivere, Abbie aut Enthalten in Heritage Science London : Chemistry Central, 2013 8(2020), 1 vom: 07. Jan. (DE-627)74117118X (DE-600)2710672-X 2050-7445 nnns volume:8 year:2020 number:1 day:07 month:01 https://dx.doi.org/10.1186/s40494-019-0348-9 kostenfrei Volltext GBV_USEFLAG_A SYSFLAG_A GBV_SPRINGER SSG-OLC-PHA GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_170 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2005 GBV_ILN_2009 GBV_ILN_2014 GBV_ILN_2055 GBV_ILN_2111 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 8 2020 1 07 01
spelling	10.1186/s40494-019-0348-9 doi (DE-627)SPR036532975 (SPR)s40494-019-0348-9-e DE-627 ger DE-627 rakwb eng Delaney, John K. verfasserin aut Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier © The Author(s) 2020 Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. Reflectance imaging spectroscopy (dpeaa)DE-He213 Fluorescence imaging spectroscopy (dpeaa)DE-He213 X-ray fluorescence (dpeaa)DE-He213 MA-XRF (dpeaa)DE-He213 Pigment (dpeaa)DE-He213 Vermeer (dpeaa)DE-He213 Dooley, Kathryn A. aut van Loon, Annelies aut Vandivere, Abbie aut Enthalten in Heritage Science London : Chemistry Central, 2013 8(2020), 1 vom: 07. Jan. (DE-627)74117118X (DE-600)2710672-X 2050-7445 nnns volume:8 year:2020 number:1 day:07 month:01 https://dx.doi.org/10.1186/s40494-019-0348-9 kostenfrei Volltext GBV_USEFLAG_A SYSFLAG_A GBV_SPRINGER SSG-OLC-PHA GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_170 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2005 GBV_ILN_2009 GBV_ILN_2014 GBV_ILN_2055 GBV_ILN_2111 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 8 2020 1 07 01
allfields_unstemmed	10.1186/s40494-019-0348-9 doi (DE-627)SPR036532975 (SPR)s40494-019-0348-9-e DE-627 ger DE-627 rakwb eng Delaney, John K. verfasserin aut Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier © The Author(s) 2020 Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. Reflectance imaging spectroscopy (dpeaa)DE-He213 Fluorescence imaging spectroscopy (dpeaa)DE-He213 X-ray fluorescence (dpeaa)DE-He213 MA-XRF (dpeaa)DE-He213 Pigment (dpeaa)DE-He213 Vermeer (dpeaa)DE-He213 Dooley, Kathryn A. aut van Loon, Annelies aut Vandivere, Abbie aut Enthalten in Heritage Science London : Chemistry Central, 2013 8(2020), 1 vom: 07. Jan. (DE-627)74117118X (DE-600)2710672-X 2050-7445 nnns volume:8 year:2020 number:1 day:07 month:01 https://dx.doi.org/10.1186/s40494-019-0348-9 kostenfrei Volltext GBV_USEFLAG_A SYSFLAG_A GBV_SPRINGER SSG-OLC-PHA GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_170 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2005 GBV_ILN_2009 GBV_ILN_2014 GBV_ILN_2055 GBV_ILN_2111 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 8 2020 1 07 01
allfieldsGer	10.1186/s40494-019-0348-9 doi (DE-627)SPR036532975 (SPR)s40494-019-0348-9-e DE-627 ger DE-627 rakwb eng Delaney, John K. verfasserin aut Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier © The Author(s) 2020 Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. Reflectance imaging spectroscopy (dpeaa)DE-He213 Fluorescence imaging spectroscopy (dpeaa)DE-He213 X-ray fluorescence (dpeaa)DE-He213 MA-XRF (dpeaa)DE-He213 Pigment (dpeaa)DE-He213 Vermeer (dpeaa)DE-He213 Dooley, Kathryn A. aut van Loon, Annelies aut Vandivere, Abbie aut Enthalten in Heritage Science London : Chemistry Central, 2013 8(2020), 1 vom: 07. Jan. (DE-627)74117118X (DE-600)2710672-X 2050-7445 nnns volume:8 year:2020 number:1 day:07 month:01 https://dx.doi.org/10.1186/s40494-019-0348-9 kostenfrei Volltext GBV_USEFLAG_A SYSFLAG_A GBV_SPRINGER SSG-OLC-PHA GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_170 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2005 GBV_ILN_2009 GBV_ILN_2014 GBV_ILN_2055 GBV_ILN_2111 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 8 2020 1 07 01
allfieldsSound	10.1186/s40494-019-0348-9 doi (DE-627)SPR036532975 (SPR)s40494-019-0348-9-e DE-627 ger DE-627 rakwb eng Delaney, John K. verfasserin aut Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier © The Author(s) 2020 Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. Reflectance imaging spectroscopy (dpeaa)DE-He213 Fluorescence imaging spectroscopy (dpeaa)DE-He213 X-ray fluorescence (dpeaa)DE-He213 MA-XRF (dpeaa)DE-He213 Pigment (dpeaa)DE-He213 Vermeer (dpeaa)DE-He213 Dooley, Kathryn A. aut van Loon, Annelies aut Vandivere, Abbie aut Enthalten in Heritage Science London : Chemistry Central, 2013 8(2020), 1 vom: 07. Jan. (DE-627)74117118X (DE-600)2710672-X 2050-7445 nnns volume:8 year:2020 number:1 day:07 month:01 https://dx.doi.org/10.1186/s40494-019-0348-9 kostenfrei Volltext GBV_USEFLAG_A SYSFLAG_A GBV_SPRINGER SSG-OLC-PHA GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_170 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2005 GBV_ILN_2009 GBV_ILN_2014 GBV_ILN_2055 GBV_ILN_2111 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 8 2020 1 07 01
language	English
source	Enthalten in Heritage Science 8(2020), 1 vom: 07. Jan. volume:8 year:2020 number:1 day:07 month:01
sourceStr	Enthalten in Heritage Science 8(2020), 1 vom: 07. Jan. volume:8 year:2020 number:1 day:07 month:01
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topic_facet	Reflectance imaging spectroscopy Fluorescence imaging spectroscopy X-ray fluorescence MA-XRF Pigment Vermeer
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author	Delaney, John K.
spellingShingle	Delaney, John K. misc Reflectance imaging spectroscopy misc Fluorescence imaging spectroscopy misc X-ray fluorescence misc MA-XRF misc Pigment misc Vermeer Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring
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topic_title	Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring Reflectance imaging spectroscopy (dpeaa)DE-He213 Fluorescence imaging spectroscopy (dpeaa)DE-He213 X-ray fluorescence (dpeaa)DE-He213 MA-XRF (dpeaa)DE-He213 Pigment (dpeaa)DE-He213 Vermeer (dpeaa)DE-He213
topic	misc Reflectance imaging spectroscopy misc Fluorescence imaging spectroscopy misc X-ray fluorescence misc MA-XRF misc Pigment misc Vermeer
topic_unstemmed	misc Reflectance imaging spectroscopy misc Fluorescence imaging spectroscopy misc X-ray fluorescence misc MA-XRF misc Pigment misc Vermeer
topic_browse	misc Reflectance imaging spectroscopy misc Fluorescence imaging spectroscopy misc X-ray fluorescence misc MA-XRF misc Pigment misc Vermeer
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title	Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring
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title_full	Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring
author_sort	Delaney, John K.
journal	Heritage Science
journalStr	Heritage Science
lang_code	eng
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author_browse	Delaney, John K. Dooley, Kathryn A. van Loon, Annelies Vandivere, Abbie
container_volume	8
format_se	Elektronische Aufsätze
author-letter	Delaney, John K.
doi_str_mv	10.1186/s40494-019-0348-9
title_sort	mapping the pigment distribution of vermeer’s girl with a pearl earring
title_auth	Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring
abstract	Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. © The Author(s) 2020
abstractGer	Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. © The Author(s) 2020
abstract_unstemmed	Abstract As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer’s limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead–tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl’s skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved. © The Author(s) 2020
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container_issue	1
title_short	Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring
url	https://dx.doi.org/10.1186/s40494-019-0348-9
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author2	Dooley, Kathryn A. van Loon, Annelies Vandivere, Abbie
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up_date	2024-07-03T18:12:03.419Z
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