This paper presents the results of a fully non-invasive photographic and spectroscopic study on a masterpiece by the famous Venetian painter Jacopo Tintoretto (1518–1594): “The Wedding feast at Cana” (1561), located inside the sacristy of the Santa Maria della Salute Basilica in Venice. A restoration campaign was carried out on the painting between 2016 and 2017. Various techniques were chosen to characterize in detail the materials used by the painter, especially pigments: Near Infrared Reflectography (NIR) to identify preparatory sketch and also allowing formulating hypothesis on some pigments; Raman and Fiber Optics Reflectance Spectroscopy (FORS) applied directly to the surface of the object, avoiding sample collection, to identify the pigments palette applied by Tintoretto. Information about binders was also obtained in a totally non-invasive way by using NIR spectroscopy. All analysis points were precisely (±2 mm) registered on a painting virtual map in order to recover them in a future possible conservation project.
The Jacopo Tintoretto “Wedding Feast at Cana”: A non-invasive and multi-technique analytical approach for studying painting materials / Agnoletto, F. C.; de Ferri, L.; Bersani, D.; Pojana, G.. - In: SPECTROCHIMICA ACTA. PART A, MOLECULAR AND BIOMOLECULAR SPECTROSCOPY. - ISSN 1386-1425. - 229:(2020), p. 117954. [10.1016/j.saa.2019.117954]
The Jacopo Tintoretto “Wedding Feast at Cana”: A non-invasive and multi-technique analytical approach for studying painting materials
de Ferri L.;Bersani D.;
2020-01-01
Abstract
This paper presents the results of a fully non-invasive photographic and spectroscopic study on a masterpiece by the famous Venetian painter Jacopo Tintoretto (1518–1594): “The Wedding feast at Cana” (1561), located inside the sacristy of the Santa Maria della Salute Basilica in Venice. A restoration campaign was carried out on the painting between 2016 and 2017. Various techniques were chosen to characterize in detail the materials used by the painter, especially pigments: Near Infrared Reflectography (NIR) to identify preparatory sketch and also allowing formulating hypothesis on some pigments; Raman and Fiber Optics Reflectance Spectroscopy (FORS) applied directly to the surface of the object, avoiding sample collection, to identify the pigments palette applied by Tintoretto. Information about binders was also obtained in a totally non-invasive way by using NIR spectroscopy. All analysis points were precisely (±2 mm) registered on a painting virtual map in order to recover them in a future possible conservation project.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
