Researchers at the Norwegian University of Science and Technology (NTNU) have developed a digital tool, dubbed the “Light Damage Estimator,” that simulates how the pigments in paintings will fade over time. The tool, unveiled in a recent announcement, allows for adjustable factors including color, light source, intensity, and exposure duration.
While currently focused on the specific vulnerabilities of Edvard Munch’s “The Scream,” the NTNU team intends to expand the model’s capabilities to encompass a wider range of artworks and pigments. The initial application highlights the sensitivity of colors like yellow and red to light exposure, suggesting that even advanced conservation techniques cannot indefinitely halt the molecular changes that cause fading, according to Irina-Mihaela Ciortan, the NTNU postdoctoral researcher who led the project.
The development of the Light Damage Estimator involved a detailed analysis of the chemical composition of the pigments in “The Scream” using X-ray fluorescence. This revealed the presence of compounds such as mercury in vermillion red, cadmium in yellow, and cobalt in both cobalt blue and ultramarine. Based on this data, the researchers created replicas of the painting and subjected them to accelerated aging tests within a climate chamber, monitoring changes under controlled conditions of humidity and light.
“The idea is that, as the samples have the same properties as the original painting, the changes observed could reflect the historical and future changes of ‘The Scream’,” the researchers explained. The data gathered from these tests was then used to build the Light Damage Estimator.
Currently, the tool is more of a research project than a practical resource for conservators. The model is primarily calibrated for “The Scream” and focuses on cadmium yellow and vermillion red – colors particularly susceptible to light damage. The NTNU team plans to broaden the project by collaborating with museums to gather additional data and expand the range of environmental factors considered. They are also exploring the integration of artificial intelligence to automate the modeling process.
“Until these challenges are resolved, it will be more useful to collaborate with museums that have similar data to what we used in our project,” Ciortan stated. The ancient Greek sculptures, admired for their detail and elegance, also face the challenge of pigment degradation over time, as noted in historical accounts of ancient Greek art, which often utilized marble and bronze. [1, 2]
The study of ancient Greek sculpture reveals a history of artistry characterized by idealism and refinement, with mythological and warrior themes dominating the subject matter. [2] The Kouros of Anavyssos, a sculpture from around 530 B.C.E., exemplifies the early stages of Greek sculpture, demonstrating a progression towards naturalism. [3] However, the longevity of color in these ancient works, like those studied by the NTNU team, remains a subject of ongoing research and preservation efforts.
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