īacci, M., Picollo, M.: Non-destructive spectroscopic detection of cobalt(II) in paintings and glass. 24 (2003)Īrtesani, A., Gherardi, F., Nevin, A., Valentini, G., Comelli, D.: A photoluminescence study of the changes induced in the zinc white pigment by formation of zinc complexes.
Īra, K., Folkes, S., Green, T., Howell, S., Tasker, N., Walker, A.: Some ethical implications of using ultra-violet barrier varnishes. 16, 83–199 (2004)Īnglos, D., Solomidou, M., Zergioti, I., Zafiropulos, V., Papazoglou, T.G., Fotakis, C.: Laser-induced fluorescence in artwork diagnostics: an application in pigment analysis. KeywordsĪldovrandi, A., Buzzegoli, E., Keller, A., Kunzelman, D.: Indagini su superfici dipinte mediante immagini UV riflesse in falso colore. This chapter has the specific aim of illustrating how fluorescence can be used to inspect the condition of the surface of paintings, for the identification of reintegration, and for the detection of emissions from inorganic and organic pigments in some cases how luminescence may allow the identification of the presence of non-original materials, aged varnishes or surface treatments. Fluorescence spectroscopy and advanced imaging methods based on time-resolved luminescence are useful for the discrimination of materials, and the characterisation of modern pigments, as well as to monitor the ageing of materials, but require careful calibration and the use of suitable reference materials. The physical phenomena that underlie fluorescence are reviewed briefly, together with an overview of the methods used for the inspection of easel paintings. This chapter aims to provide an overview of fluorescence as it is employed for the examination of works of art, with specific examples of the technique applied to the assessment of condition of paintings.
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