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Peter Paul Rubens after Willem Key, Self-portrait, c. 1615/18, panel, 43.8 × 35.3 cm. Munich, Bayerische Staatsgemäldesammlungen.
Source publication
Part of the collection of the Rubens House in Antwerp is a portrait of young Anthony van Dyck, alternatively attributed to Peter Paul Rubens and his pupil Anthony van Dyck. In order to reconstruct the genesis of the portrait in a manner that improves upon past investigations, a number of high-end technological methods, such as X-radiography, X-ray...
Context in source publication
Context 1
... cannot entirely dismiss the idea that Rubens himself may have derived inspira- tion from an older self-portrait of a young painter, most notably Willem Key (Berlin, Staatliche Museen zu Berlin, oil on paper on panel, 44.5 × 34.5 cm, made shortly after 1542). Recently, the execution of Rubens's copy after the self-portrait of the young painter with the cap (Munich, Bayerische Staatsgemäldesammlungen, panel, 43.8 × 35.3 cm) was likewise dated to the years 1615-1618 ( Figure 8). 22 Although Willem Key's diagonal pose, with his head held slightly to one side and the slightly affected gesture of the vir elegans deviates from the approach taken by Rubens and Van Dyck, there are nonetheless striking parallels. ...
Citations
... Both methods rely on this altering information to learn more about the surface of an object and create so called interactive 2.5 dimensional (2.5D or 2D+) images that can be virtually re-lit. Various shaders can be selected to accentuate a specific property of the surface, varying from the shape (e.g. of cuneiform script [23]) to the reflective properties (e.g. to investigate pigments [22,18]). For dissemination purposes the photo-realistic shader is typically used, which displays interactive models [12]. ...
Single-Camera Multi-Light scanning methods like Reflectance Transformation Imaging (RTI) and Portable Light Dome (PLD) are being widely used in the cultural heritage sector. Both technologies followed a long development track in collaboration with cultural heritage partners, resulting in matured technologies. In this short paper, we highlight recent progress with this technique (capturing and modeling reflectance, multi-spectral pipelines, material classification) and present ongoing work of how both technologies can be brought closer together. Finally, we address RTI’s and PLD’s challenges and possible solutions in terms of long term preservation and valorization by the scientific community.
... 47 A comparison with Van Dyck's selfportraits from his first Antwerp period leaves no doubt that Icarus bears the young painter's features. 48 Icarus is first described as a self-portrait of Van Dyck in the sale catalogue of 1776, and the inscription on Watts's print of 1778 states quite plainly: 'Vandyke in the Character of Icarus'. Artists often identified themselves with Icarus hoping that, unlike him, they would choose the 'aurea mediocritas' and rein in their artistic ambition. ...
... Both methods rely on this altering information to learn more about the surface of an object and create so called interactive 2.5 dimensional (2.5D or 2D+) images that can be virtually re-lit. Various shaders can be selected to accentuate a specific property of the surface, varying from the shape (e.g. of cuneiform script [23]) to the reflective properties (e.g. to investigate pigments [22,18]). For dissemination purposes the photo-realistic shader is typically used, which displays interactive models [12]. ...
The author describes how to construct a simple reflectance transformation imaging (RTI) setup using an Adurino microprocessor and a 3D printer.
It can be sometimes difficult for a single photograph to adequately record and represent all of an object’s important detail. By using RTI photographic techniques, researchers are better able to enhance an object’s individual topography, texture, and color. Unlike one single photograph, an RTI photographic system may utilize numerous lighting angles to produce sequential images of the same object or artifact that may reveal obscured or hidden detail.
In recent years more advanced imaging techniques have been introduced to study, document, curate and preserve our heritage. Pixel+ focuses on two of them: Reflectance Transformation Imaging/Polynomial Texture Mapping and the Portable Light Dome.
This paper provides an overview over the application of scanning macro-XRF with mobile instruments for the investigation of historical paintings. The method is compared to synchrotron based macro-XRF imaging and Neutron Activation Auto-Radiography. Full-Field XRF imaging instruments, a potential future alternative to scanning macro-XRF, and confocal XRF, providing complementary depth profiles and developing into a 3D imaging technique itself, are described with the focus on investigations of historical paintings. Recent developments of X-ray radiography are presented and the investigation of cultural heritage objects other than paintings by MA-XRF is summarized. In parallel to XRF, hyperspectral imaging in the visible and range has developed into a technique with comparable capabilities, providing insight in chemical compounds, where XRF imaging identifies the distribution of elements. Due to the complementary nature of these techniques the latter is summarized. Further, progress and state of the art in data evaluation for spectroscopic imaging is discussed. In general it could be observed that technical capabilities in MA-XRF and hyperspectral imaging have reached a plateau and that with the availability of commercial instruments the focus of recent studies has shifted from the development of methods to applications of the instruments. Further, that while simple instruments are easily available with medium budgets only few groups have high-end instrumentation available, bought or in-house built.
