8/31/2023 0 Comments Using black light paintMold and mildew still fluoresce a yellow-orange, but bleach and optical brightening agents will shine a cool bright blue – think how a white shirt looks under UV. Again, the instance of flipping back and forth between UV to incandescent can help you tease out more details.īlack light isn’t just for paintings though, it can also tell you things about works on paper. Often the UV light will bring a faded signature out or the different cast of the light can allow you to make out letters you couldn’t quite pick out before. There have been countless times when a signature is just too faint or too jumbled in visible light to discern the artist’s name. UV light is also a helpful tool when trying to identify signatures. Once you’ve determined retouch is likely, consider the shape and size of the retouch as a key is to a map thin, narrow lines are likely fill in lines of craquelure, small squares could correspond to flaking (when the paint literally starts flaking off the canvas), arcing diagonals can illustrate the path of a previous abrasion or tear, and large irregular-shaped portions could indicate areas that have been stained or water damaged. Operating under UV can be quite handy, but a comparison with incandescent can alert you to discolorations that you can discern with the naked eye. Stains and surface-level accretions can also fluoresce, but these can often be easily spotted by alternating UV light with incandescent light. Meanwhile, certain molds can appear yellow or orange with black light. This kind of varnish is a forgery favorite, as it can be used to hide retouch and fake signatures and will present as a greenish fluorescence. There are also masking varnishes that help slow down the aging process by using a UV-filtering material. Something to keep in mind about varnish is that it’s not always applied as a single layer in fact, some varnish jobs can look downright patchy and even drippy under UV. Typically, varnish will give the work a flat appearance under UV with a yellow to green cast. There can be other factors in why a work fluoresces, such as varnish, mold, stains, and accretions. Ask yourself questions like “Is the fluorescence relegated to only one color in the work?” “Do the fluorescing brushstrokes match the rest of the work?” and “Is the shape of the fluorescence irregular?” all help narrow the field of retouch versus original. In incandescent light and visible to the naked eye, conservators’ colors will generally be a shade or two lighter or darker than the field of color that they’re repairing, so make sure you look at the work under both types of lighting. Today’s conservators don’t try to fool you their inpainting is applied in a way that makes it apparent what is their work and what is that of the artist. Assess the color, the shape of the area, as well as the brushstrokes (if applicable) to see if it’s more likely the artist’s hand rather than that of the conservator. However, it is also important to note that some pigments do fluoresce under UV light, such as some chromium pigments and rose madder. Paintings with newer conservation will be a deep purple while works with older retouch will have a much more subtle, even faint, fluorescence in a lighter shade of purple. The shades of fluorescence can also vary depending on the age of the retouch. What you are looking for are any areas of a vibrant dark purple they can come in any shape and size, from small pinpoint dots to large swatches. With paintings, black light can be used to help determine if a work has been retouched or “inpainted” by shining it across the surface to see if anything fluoresces. While black lights come in all shapes and sizes, the most important thing when using a black light is to know what you are looking for! There are two main types of black light devices we use in the department, one being affectionately termed “the beast,” as it produces quite a strong ultraviolet light that can cover a wide surface area the second has both black light and incandescent light, of which the black light produces a softer glow than “the beast” and can pick up more subtleties, such as older retouch. From cataloging to previewing, the black light is an essential tool for the American & European Works of Art department.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |