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首页> 外文会议>Conference on Computer Image Analysis in the Study of Art; 20080128-29; San Jose,CA(US) >An Investigation of Multispectral Imaging for the Mapping of Pigments in Paintings
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An Investigation of Multispectral Imaging for the Mapping of Pigments in Paintings

机译：绘画中颜料映射的多光谱成像研究

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摘要

Compared with colorimetric imaging, multispectral imaging has the advantage of retrieving spectral reflectance factor of each pixel of a painting. Using this spectral information, pigment mapping is concerned with decomposing the spectrum into its constituent pigments and their relative contributions. The output of pigment mapping is a series of spatial concentration maps of the pigments comprising the painting. This approach was used to study Vincent van Gogh's The Starry Night. The artist's palette was approximated using ten oil pigments, selected from a large database of pigments used in oil paintings and a priori analytical research on one of his self portraits, executed during the same time period. The pigment mapping was based on single-constant Kubelka-Munk theory. It was found that the region of blue sky where the stars were located contained, predominantly, ultramarine blue while the swirling sky and region surrounding the moon contained, predominantly, cobalt blue. Emerald green, used in light bluish-green brushstrokes surrounding the moon, was not used to create the dark green in the cypresses. A measurement of lead white from Georges Seurat's La Grande Jatte was used as the white when mapping The Starry Night. The absorption and scattering properties of this white were replaced with a modern dispersion of lead white in linseed oil and used to simulate the painting's appearance before the natural darkening and yellowing of lead white oil paint. Pigment mapping based on spectral imaging was found to be a viable and practical approach for analyzing pigment composition, providing new insight into an artist's working method, the possibility for aiding in restorative inpainting, and lighting design.
机译：与比色成像相比，多光谱成像具有检索绘画每个像素的光谱反射系数的优势。使用此光谱信息，颜料映射涉及将光谱分解为其组成颜料及其相对贡献。颜料映射的输出是构成绘画的颜料的一系列空间浓度图。这种方法用于研究文森特·梵高的《星夜》。从十个油画颜料中近似艺术家的调色板，这些油画颜料是从一个大型油画颜料数据库中选择的，并且在同一时期对他的一张自画像进行了先验分析研究。颜料映射基于单常数Kubelka-Munk理论。已发现，星星所在的蓝天区域主要包含群青蓝色，而涡旋的天空和围绕月亮的区域则主要包含钴蓝色。翡翠绿用于环绕月球的淡蓝色绿色笔触，并未用于在柏树中产生深绿色。在绘制《星夜》时，将乔治·修拉特（Georges Seurat）的La Grande Jatte铅白测量值用作白色。这种白的吸收和散射特性被铅白在亚麻籽油中的现代分散体所取代，并用于模拟铅白油漆自然变暗和变黄之前的外观。人们发现，基于光谱成像的颜料映射是一种可行的，实用的分析颜料成分的方法，它为艺术家的工作方法提供了新的见识，有助于修复绘画和照明设计。

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