Article | REF: RE140 V1

The Mona Lisa analyzed with a multispectral camera

Authors: Mady ELIAS, Pascal COTTE

Publication date: June 10, 2010

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AUTHORS

  • Mady ELIAS: Professor at the University of Evry Val d'Essonne (UEVE) - Head of the "Optics and Art" group at the Institut des nanosciences de Paris (INSP) – Université Pierre et Marie Curie (UPMC) – UMR 7588 CNRS

  • Pascal COTTE: Scientific Director, Lumière Technology SA - Creator of the multispectral camera presented here

 INTRODUCTION

Summary:

Leonardo da Vinci's Mona Lisa was scanned by a multispectral camera in October 2004. 240,000,000 diffuse reflection spectra were digitally recorded over the entire painting. Analysis of these spectra enabled the color of each pixel to be quantified, resulting in a very high quality image. The absorption of the highly degraded varnish was then taken into account to obtain a virtual de-varnishing of the painting and recover its original colors. Comparison of the recorded spectra with spectral databases led to the identification of the pigments used by the artist. Finally, a theoretical study of the spectra enabled us to describe the composition of the sfumato in Mona Lisa. An umber was identified in the surface layer of her face, and a mixture of 1% vermilion and 99% lead white in the undercoat. The artistic technique of glazing has also been demonstrated, a technique invented by the Flemish Primitives and previously unknown in Italy.

Abstract:

Monna Lisa painted by Leonardo da Vinci has been scanned with a multispectral camera in october 2004. 240 000 000 diffuse reflectance spectra divided on the whole painting have then been digitally recorded. In a first time, the analysis of these spectra allows quantifying the color of each pixel and producing an image with very high quality. The absorption of the aged varnish has then been taken into account. A virtual removing of the varnish has been realized and allows finding again the original colors. The comparison between the recorded spectra and spectral databases allows the identification of the pigments used by the artist. Finally, the theoretical study of the spectra allows depicting the composition of the Monna Lisa's sfumato. An Umber is identified in the upper layer of her face, and a mixture of 1% vermilion and 99% lead white is identified in the under layer. An artistic technique of art glaze is also underlined, a technique invented by the flemish primitive painters and unknown in Italy at this period.

Key words :

Mona Lisa, diffuse reflection spectra, multispectral camera, sfumato, virtual varnish removal, radiative transfer equation.

Keywords :

Monna Lisa, diffuse reflectance spectra, multispectrale camera, sfumato, virtual varnish removing, radiative transfer equation.

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The Mona Lisa analyzed with a multispectral camera