Mapping lacunae for retouching paintings with computer graphics software (original) (raw)
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Analysis of lacunae and retouching areas in panel paintings using landscape metrics
… of the Third international conference on …, 2010
This paper explores a novel use of Geographic Information Systems and Landscape Metrics in the characterization of lacunae and retouching areas on panel paintings. The aim is to understand some spatial properties of original and non-original areas and contribute to the documentation of conservation and restoration treatments with valuable information. The study uses an orthophoto of the analysed artwork in a GIS program to produce polygons with a direct visual interpretation, corresponding to the major colour zones, the lacunae and the retouching areas. Over these areas landscape metrics are applied and interpreted. The result is a useful set of values describing spatial properties and relations between lacunae, retouching areas and the unaffected zones in the painting. These quantified parameters extend the traditional qualitative diagnosis reports on the state of conservation of artworks and contribute to support the evaluation of conservation and restoration projects.
Image analysis applied to the planning of a canvas painting restoration intervention
Ge-conservacion
This work proposes a methodology of digital analysis of the state of conservation of a canvas painting to solve difficulties related to the pictorial reintegration of paintings that present an excessive number of different lacunae in terms of size and extent. The case study is related to the small-size oil on canvas painting executed by an unknown artist, where the lacunae were challenging to analyze and localize graphically. Therefore, it required a careful evaluation of the approach to be used during the pictorial reintegration intervention. Using an image analysis method, based on the semi-automatic extraction approach, the state of conservation’s graphic relief outlining different virtual operating proposals was obtained.
Polynomial texture mapping: a new tool for examining the surface of paintings
Polynomial texture mapping (PTM) offers advantages over traditional raking light photography for examining and documenting the surface texture and shape of paintings. It is less expensive and computationally intensive than structured light or laser-based scanning techniques. Several small paintings and mock-up paintings have been examined and it is shown that PTMs are able to record surface features including craquelure, planar distortion, wood grain, canvas weave and pentimenti. By making images before and after physical change, the PTM technique can monitor and map change to the surface texture and shape of paintings. Future development of the system is described briefly.
DIGITAL PAINTING ANALYSIS, AT THE CROSS SECTION OF ENGINEERING, MATHEMATICS AND CULTURE
AUTHORS: *Bruno Cornelis, Ann Dooms, Jan Cornelis, Frederik Leen and Peter Schelkens INSTITUTIONS : Dept. of Electronics and Informatics (ETRO), Vrije Universiteit Brussels (VUB), Brussels; Interdisciplinary Institute for Broadband Technology (IBBT), Ghent; Art History Department, Vrije Universiteit Brussel (VUB); Dept. of Modern Art, Royal Museums of Fine-Arts of Belgium, Brussels ABSTRACT Museums started digitizing their collections, mainly for preservation, documentation and dissemination purposes, but one can go further than archival: digital acquisition enables digital analysis of art and in particular paintings. This proves to be a useful, non invasive tool, for many applications such as restoration, conservation, art history, material and structure characterization, authentication, dating and even style analysis. Paintings are complex structures. Analysis of the support and all pictorial layers requires multimodal imaging, high resolution and standardized data acquisition. We situate our own research on canvas characterization, craquelure detection, multispectral data analysis, object extraction and image enhancement within the state of the art.
Using 3D scanning to support conservation treatments for paintings
2020
Various imaging techniques are used to visualise issues regarding a painting's appearance before, during and after conservation treatments, i.e. visible light photography (VIS) raking light photography (RAK), ultraviolet fluorescence photography (UVF) and reflectance transformation imaging (RTI). However, these techniques cannot always visualise and/or quantify conservation issues. This paper presents a new approach: colour, gloss, topography imaging (CGT). CGT's applicability as a non-invasive tool for evaluating and documenting conservation treatments in comparison to VIS, UVF, RAK and RTI is discussed. Applying this to case studies with different conservation dilemmas illustrates the technique's potential and drawbacks. CGT can visualise issues such as gloss variations, resulting from (previous) cleaning tests, (partial) varnish removal, and possibly dirt and material degradation. Furthermore, CGT can elucidate topographical issues such as bulging, and losses, and also visualise high-frequency surface variations (e.g. canvas weave and crack pattern). This results in an improvement of documenting a painting's condition, and the evaluation of treatments and their effects on the visual appearance may be quantified. In conclusion, this research shows that CGT is able to better visualise texture, gloss and colour information than existing techniques like technical photography, facilitating a more precise documentation and localisation of previous and current conservation treatments.
DOCUMENTATION IN CONSERVATION FOR THE RETOUCHING PROCESS OF A PAINTING BY AMADEO DE SOUZA-CARDOSO
In the documentation in conservation context, there is an increasing demand for precise and accurate data and also for full three dimensional records of the cultural heritage. This paper presents the study case of a painting by Amadeo de Souza-Cardoso before, during and after the retouching treatment. The work focuses on the use of open source systems, such as GIS and photogrammetry software, in order to produce accurate maps of object losses and realistic virtual 3D models enabling the study of artworks with a minimum budget and a low cost infrastructure.
Starting with the complex nature of drape lace mounted on porcelain figurines, methods of 3D technology for use in restoration were examined in a pilot study. A porcelain figure group, including a lady wearing a porcelain lace dress with many lacunae was chosen for testing (Figure 1). The dress exists of an extremely fine lace imitation, made with real lace dipped in porcelain slip, mounted in place before firing. Because of the intricate details, small scale, and fragile nature, the dress cannot be easily restored manually without risking further damage.
ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, 2014
The monitoring of paintings, both on canvas and wooden support, is a crucial issue for the preservation and conservation of this kind of artworks. Many environmental factors (e.g. humidity, temperature, illumination, etc.), as well as bad conservation practices (e.g. wrong restorations, inappropriate locations, etc.), can compromise the material conditions over time and deteriorate an artwork. The article presents an on-going project realized by a multidisciplinary team composed by the ENEA UTICT 3D GraphLab, the 3D Optical Metrology Unit of the Bruno Kessler Foundation and the Soprintendenza per i Beni Storico Artistici ed Etnoantropologici of Bologna (Italy). The goal of the project is the multi-temporal 3D documentation and monitoring of paintings -at the moment in bad conservation's situation -and the provision of some metrics to quantify the deformations and damages.
A METHOD FOR VIRTUAL RESTORATION OF ARTWORKS
Cracks are a strong indicator for the condition of an image. An affordable way to detect those cracks in old paintings and use image processing techniques to detect cracks in these images. In this paper methods used to accomplish this task based on mathematical morphology and curvature evaluation to segment images with respect to a precise geometric model to define crack-like patterns. Keywords- cracks, crack detection, crack filling, restoration, in painting, texture synthesis.
In the Pursuit of Perfect 3D Digitization of Surfaces of Paintings : Geometry and Color Optimization
Lecture Notes in Computer Science, 2014
In this paper the automated system for 3D shape and color digitization of paintings is presented. It uses a 10000 points per mm 2 structuredlight measurement head fixed to the positioning system. The main focus of the paper is the process of optimizing results of digitization in order to obtain the best possible 3D model of surface of a painting in terms of shape and color accuracy.