infrared reflectography


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infrared reflectography

[¦in·frə‚red ‚rē‚flek′täg·rə·fē]
(analytical chemistry)
In art conservation, a nondestructive digital imaging technique used to investigate underdrawings (below the painted surface) of paintings.
References in periodicals archive ?
Near Infrared Reflectography opens new windows into understanding Kane's art revealing his sense of art and documentation, the development of his own aesthetic values, his response to patronage pressure, and his steadfastness to a realized vision.
In tribute to Faries, the essays focus on the process of invention, whether by an individual artist or by workshop, tracing in detail the choices and techniques employed to produce the work of art, often discovered using investigative tools like infrared reflectography, pioneered by Faries.
Infrared reflectography reveals Northern building-up of thin layers of oil glazes over a precise underdrawing in the Virgin's face, and thickly applied glazes over a generalized underdrawing in the figure of Christ, in the manner of Italo-Byzantine painting.
Each painting has been fully documented and examined using a variety of techniques, such as infrared reflectography, to determine its structure.
Infrared reflectography, ultra-violet light, X-radiography, and pigment analysis will all be used to unlock the hidden history of the monumental works' artistic creation - the first time such forensic techniques will have been used on this particular series by Zurbaran.
Kenneth presented Ghosts and Metamorphoses: Paul Kane's First Brush at the Yukon School of Visual Arts--an examination of Kane's oil paintings as revealed though infrared reflectography (IRR).
Images made using infrared reflectography provide a peek at the drawings beneath his paintings, and discussion also includes Van Gogh's drawing materials--observations as well as scientific analyses.
Only in recent years have scientific studies using radiography, infrared reflectography, and the chemical analysis of pigments provided information about the material nature of Velazquez's paintings that could not earlier have been discerned through even the most careful observation.
This figure - simulating a painting on paper - is seen in radiographs and in infrared reflectography, while the blue ground is a pentimento visible as the color underlying the final layer of white.(56) In the final version of the portrait, however, Lotto's Lucretia holds a line drawing.
The results were included in the show, and ranged from infrared reflectography, xradiography, and dendrochronological evaluation.