From macro to micro spectroscopy and imaging - updates for multi-modal technical examination of paintings at the National Gallery, London

Lead Research Organisation: National Gallery
Department Name: Scientific Department

Abstract

The National Gallery (NG) has a long history of technical research from its inception: the first Director Charles Eastlake publishing a seminal work in the 19th century on materials and history of oil paintings. X-radiography at NG began in the 1930s, and the results were published in scholarly catalogues as early as the 1940s. The Scientific Department was established in 1934, one of the first in a museum or gallery. Since then NG has developed a world class reputation for its distinctive highly integrated technical research in which scientists, conservators and curators work closely together. A correlative imaging approach from macro (on the painting itself) to micro (on samples) is now adopted for technical examination, following acquisition in recent years of spectroscopic imaging equipment. Multiple techniques (or imaging and analysis modalities) are used together during a single examination to obtain complementary information. Certain other core elements of its technical examination infrastructure have, however, reached the end of their lives and investment for replacements is therefore requested (e.g. a film-based X-radiography system over 30 years old). Update is also needed of certain existing equipment to ensure NG research is not compromised by falling behind with new technologies. This will allow NG to take advantage of developments in instrumentation and software so it can continue to achieve research excellence. Research on its internationally renowned collection during conservation projects or the scholarly cataloguing programme will be a regular source of demand for the infrastructure, as will research feeding exhibitions and the associated public engagement programmes. NG regularly conduct and publish technical research on works from other collections, including both national and non-national institutions. The new infrastructure would also benefit the NG's wide range of national and international research collaborations. Another emerging strategic driver is the greater emphasis on digital engagement and sharing of data through digital platforms. NG's unique archive of technical documentation is extensive due to the long history of scientific examination. This and other material in its photographic archive are used as a valuable research resource by both NG staff and external researchers, who access it through the NG Research Centre. The requested investment in equipment for high-volume digital image capture will be crucial in advancing at a faster pace NG's strategic long-term ambitions for a 'digital dossier' of archive documentation on each painting, so that all our research data is more findable, accessible and re-usable (FAIR) and its use as a research resource is expanded, supported by remote access to information. NG is well placed to take forward these advancements due to its past track record in digital documentation and digital humanities research. Digitisation of data will also make interoperable Linked Data a more achievable goal. This offers the prospect of data and images being more easily available for a wide range of purposes, stimulating not only academic research in a range of fields but other activities such as teaching or exhibitions (and the ensuing economic benefits). NG is a highly appropriate host for the requested investment in infrastructure. The expertise of its staff and the relatively large team mean that maximum value in terms of use can be extracted from it. The equipment would be placed within well-established scientific and photographic departments, complementing or filling gaps within the existing facilities. Its track record in utilising technical research result in its public programmes is also relevant. The iconic nature of the NG collection means the research is of international interest. The demonstrable strong commitment of NG to heritage science research and its high profile within the institution also supports the case for investment in its scientific infrastructure.
 
Description Acquisition of key items of equipment has achieved the update and upgrade of the National Gallery's research infrastructure for technical examination of paintings and for digitization of the related documentation archive. This addresses the main objectives of expanding the possibilities for research in this area by giving access to the latest technologies for investigation of the works of art themselves, and facilitation of the digitization of the Gallery's valuable documentation archive.
Multi-modal non-invasive analytical imaging - the use of multiple complementary techniques in tandem on a single work of art - has become essential for high quality research in this discipline. The National Gallery has a suite of advanced analytical imaging equipment, coupled with a micro-positioning easel. The upgrade has ensured its longevity and augmented it, for example with the addition of fibre-optic reflectance spectroscopy capability. However, some questions can only be addressed through in-depth analysis of paint samples; the funding has also enabled significant enhancements to the infrastructure for paint sample examination and analysis, most importantly the more sophisticated data manipulation possible with the new software for energy dispersive X-ray analysis in the scanning electron microscope.
Finally, the National Gallery holds an extensive archive of technical documentation including data and images accumulated over many decades and in a range of formats, which is a unique and valuable research resource. The infrastructure upgrade enables improved, faster and more efficient digitization with the ultimate aim of making this archive more accessible to researchers.
Exploitation Route The upgraded facilities have already been used to produce a significant body of data and technical images of different kinds, some of which have already been exploited for public engagement and for research associated with major conservation and cataloguing projects. The facilities are being used on a daily basis and will continue to generate new knowledge on the National Gallery's world class collection and also on paintings from other collections through our collaborations, reflecting the value of this investment to the sector as a whole. This research is being conducted within the National Gallery's multidisciplinary ethos, with scientists, conservators and curators working together so that the research questions addressed by technical examination are directed towards issues that augment our understanding of a specific work of art, the working methods of an artist or artist's workshop, or even a whole school of painting.
The insights and discoveries feed into historical research for an academic audience and are also used for a range of other outcomes, including exhibitions and other aspects of public programmes for Gallery visitors. This infrastructure investment is timely in that it will enhance the intensive research programme being undertaken to support the range of public-facing activities planned to mark the National Gallery's 200th anniversary in 2024.
The National Gallery holds a large archive of technical images and associated documentation collected since the 1930s. This valuable collection of data, internationally recognized as a research resource, is gradually being digitized to make it more accessible and usable by researchers both inside and outside the institution, a current institutional strategic objective. The Phase One IXH acquired through CapCo funding has greatly improved our digitisation practices. For X-ray film, for example, we have progressed from a scan time of about 4 minutes per sheet to only 10 seconds, representing a huge increase in throughput and efficiency. Image quality has also improved, with a spatial resolution of 40 microns being achieved.
Sectors Culture

Heritage

Museums and Collections
 
Description The upgrade of the National Gallery's research infrastructure for technical examination of paintings achieved through CapCo funding is already generating new knowledge on its world class collection, and will continue to do so in the future, making the latest technologies available for this area of research. It is used daily for scientific investigation of paintings, whether for conservation questions or more historical research. The outputs, datasets and digital images impact a wide variety of activities within the National Gallery's public programmes, as well as being of value to academic researchers in a range of disciplines. Examples so far include contributions to several National Gallery exhibitions; including 'Discover Manet and Eva Gonzalès' in Autumn 2022, 'Pesellino: A Renaissance Master Revealed' in Spring 2024, 'The Ugly Duchess: Beauty and Satire in the Renaissance' in Summer 2023 and 'Frans Hals' in Autumn-Winter 2023. The catalogues of each of these included insights based on technical examination of one or more of the paintings displayed in the exhibition. In many cases, the technical examination also featured in videos released on the Gallery's website as part of the popular 'Behind the scenes' series. Technical research has also been carried out on iconic works such as Paolo Uccello's 'Battle of San Romano', 'Samson and Delilah' and both versions of the 'Judgement of Paris' by Peter Paul Rubens and the English School 'Wilton Diptych'. The findings will be published in a series of detailed on-line catalogue entries for major National Gallery works planned for release during 2024 and 2025 as part of the programme of activities to mark the Gallery's bicentenary. The National Gallery's two paintings by Vermeer were also re-examined in 2023, a rare opportunity taken just before they returned to the Gallery walls after loan to the major Vermeer exhibition at the Rijksmuseum; this new research enables us to join the group of researchers cooperating together internationally to bring together what is now a huge body of technical research on this artist. The concurrent investment in digitisation facilities has facilitated the Gallery's aim of making the unique archive of documentation on its paintings and its history more easily available as a digital research resource. This has included items for the cataloguing programme mentioned above. The infrastructure has also been used for technical examination of paintings from other collections, through the National Gallery's collaborations. This has included Baldassare Peruzzi's 'Nativity' for National Museums Northern Ireland, Holbein's cartoon of Henry VIII and Henry VII and Laura Knight's 'Self Portrait' for the National Portrait Gallery, as well as Picasso's 'Woman Reading a Book' for the Norton Simon Museum, California.
First Year Of Impact 2021
Sector Culture, Heritage, Museums and Collections
Impact Types Cultural
 
Description Examination and analysis of Baldassare Perruzzi's 'The Nativity' (National Museums Northern Ireland) during its conservation at the National Gallery, London 
Organisation National Museums Northern Ireland
Country United Kingdom 
Sector Academic/University 
PI Contribution Baldassare Peruzzi's 'The Nativity' (oil on panel) from National Museums Northern Ireland underwent conservation treatment at the National Gallery, London under the latter's National Conservation programme. This painting was recently acquired by the National Museums Northern Ireland and has an important place as the first significant Italian Renaissance work to enter their collection (https://www.nationalmuseumsni.org/collections/nativity-c1515). As part of the project, the scientific research team used the new microscope camera to record high quality images of paint cross-sections, and the Aztec software upgrade funded by CapCo for Energy Dispersive X-ray analysis of these cross-sections in the Scanning Electron Microscope. This was carried out to investigate questions arising during conservation treatment and to explore certain distinctive aspects of the painting technique, especially interesting for this artist as he rarely worked on panel. This included the use of a red underpaint beneath all areas of blue, probably stemming from the fact that most of Peruzzi's known production is in wall paintings, where this practice is more common. The project and assocaited research produced a new understanding of the context and technical influences on the working methods employed in this painting produced in Rome around 1515 by an artist who collaborated with Raphael.
Collaborator Contribution The curator of paintings at the National Museums Northern Ireland took part in discussions about the research results and will be working on various means of disseminating the outcomes, including to a public audience. A short film is being made on the conservation treatment and the research associated with it.
Impact Datasets, images and reports on the technical examination of Baldassare Peruzzi's Nativity (National Museums Northern Ireland). A proposal for a talk at an academic conference has been accepted, and a short film on the collaboration for a public audience is also planned. The collaboration is multi-disciplinary, involving curators, conservators and scientists at both institutions.
Start Year 2022
 
Description Examination and analysis of Hans Holbein the Younger's cartoon for a wall-painting depicting King Henry VIII and King Henry VII in collaboration with the National Portrait Gallery 
Organisation National Portrait Gallery
Country United Kingdom 
Sector Public 
PI Contribution In 1537 Holbein completed a wall painting for Whitehall Palace to commemorate the strength and triumphs of the Tudor dynasty, showing Henry VIII, his third wife (Jane Seymour) and his parents, Henry VII and Elizabeth of York. The painting was destroyed in a fire in 1698 but the cartoon for the right-hand section showing the two Henrys - and pricked for transfer of the designs - survived and is now in the collection of the National Portrait Gallery. During renovation works at the National Portrait Gallery the cartoon was on show at the National Gallery and the opportunity taken to examine this very large and fragile preparatory drawing which is on multiple sheets of paper joined together. Non-invasive imaging and analysis was undertaken to provide a high resolution digital record of the drawing and to record its current condition and to try and understand the materials used to create the design and whether ths drawing had been embellished by the application of paint or pigmented washes. Using the Gallery's micro-positioning easel upgraded with CapCo funding high resolution photography including raking light photography and UV photography was undertaken. The easel was also used to allow a complete 3D scan of the surface of the drawing to be recorded. The fibre optic reflectance spectroscopy (FORS) equipment purchased with CapCo funding was also used to examine a number of locations across the entire drawing. A series of details were scanned using MA-XRF spectroscopy and the existing samples from the drawing taken during a previous examination campaign were re-examined using the microscope and camera equipment upgraded using CapCo funding. As well as providing a comprehensive understanding of the surface of the drawing and how the various sheets of paper were joined, the examination also provides a record of areas of retouching or past intervention and has shown that - although the appearance has altered due to the passage of time - there was originally quite extensive use of pigments including vermilion and earth pigments was well as black pigments.
Collaborator Contribution Colleagues at the National Portrait Gallery have provided access to their extensive archives holding material relating to this drawing and it previous examination and conservation treatments.
Impact A dataset and an improved understanding of the materials, technique, construction and condition of the cartoon. Given the fagility of the cartoon and difficulty in being able to see the detail of the surface of the work, it is anticipated that some form of scholarly and/or public resource drawing the detailed technical investigation of the cartoon will be made available in due course. This will probably be housed at the National Portrait Gallery but drawing on the imaging and analysis undertaken at the National Gallery. The collaboration is multi-disciplinary, involving curators, conservators and scientists from both institutions
Start Year 2023
 
Description Examination and analysis of Laura Knight's painting Laura Knight with model, Ella Louise Naper ('Self Portrait') in collaboration with the National Portrait Gallery 
Organisation National Portrait Gallery
Country United Kingdom 
Sector Public 
PI Contribution The painting 'Laura Knight with model, Ella Louise Naper ('Self Portrait')' is in a fragile condition and not normally considered for loan. However, the decision was made to bring the painting to the National Gallery for macro X-ray fluorescence scanning using the Satscan easel. The examination was undertaken in the hope that understanding the artist's choice of paints and pigments and the sequence in which these were applied might help in understanding the condition of the painting, especially certain paint defects. As the painting had travelled to the National Gallery, the opportunity was also taken to include it in the Discover Manet & Eva Gonzalès exhibition
Collaborator Contribution The technical findings have been discussed and considered together with the curator and conservators at National Portrait Gallery.
Impact Datasets, images and reports from the technical examination. The collaboration is multi-disciplinary, involving curators, conservators and scientists.
Start Year 2022
 
Description Examination and analysis of paintings by Margarito d'Arezzo: National Gallery, London and National Gallery of Art, Washington collaboration 
Organisation National Gallery of Art
Country United States 
Sector Public 
PI Contribution One of the earliest works in the National Gallery, London collection is Margarito d'Arezzo's 'The Virgin and Child Enthroned, with Scenes of the Nativity and the Lives of the Saints' dated to around 1263-4. Very little work has been undertaken on European paintings of this period which are also rather rare survivals and important in art historical study. To better understand the materials used and the artist's working processes, a range of non-invasive imaging and spectroscopic imaging, non-invasive point analysis and sample analysis has been undertaken. The imaging work has benefitted from the upgrades to the Gallery's micro-positioning easel made possible with the CapCo funding and sample analysis has involved use of the new microscope camera and software and the new EDX software, also purchased with CapCo funding. However what was most exciting was the possibilities offered by the fibre optic reflectance spectroscopy (FORS) equipment which allowed the range of different blue pigments used to be characterised without the need to take additional samples. The FORS measurements have revealed the survival of the organic pigment, indigo, used as a blue pigment for the Virgin's robe.
Collaborator Contribution Colleagues at the National Gallery of Art in Washington have undertaken a similar range of imaging, spectroscopic imaging and point analysis on their painting by Margarito d'Arezzo and detailed comparison of the results from the two paintings is currently underway
Impact A dataset and new understanding of the materials and technique of Margarito d'Arezzo. A joint publication is planned The collaboration is multi-disciplinary, involving curators, conservators and scientists at both institutions
Start Year 2021
 
Description FORS Users Group 
Organisation British Museum
Country United Kingdom 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Deutsches Museum
Country Germany 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Durham University
Country United Kingdom 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Historic Environment Scotland
Country United Kingdom 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Israel Antiquities Authority
Country Israel 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Kunsthistorisches Museum
Country Austria 
Sector Charity/Non Profit 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Museum of Fine Arts, Houston
Country United States 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Natural History Museum
Country United Kingdom 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Nello Carrara Institute of Applied Physics
Country Italy 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Stony Brook University
Country United States 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Stuttgart State Academy of Art and Design
Country Germany 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation The National Archives
Country United Kingdom 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation The Rijksmuseum
Country Netherlands 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation University of Cambridge
Country United Kingdom 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation University of Delaware
Country United States 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Victoria and Albert Museum
Country United Kingdom 
Sector Public 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description FORS Users Group 
Organisation Yale University
Country United States 
Sector Academic/University 
PI Contribution We have recently joined a newly established FORS Users Group which is an international group of heritage scientists and conservators all working with Fibre Optic Reflectance Spectroscopy to which we hope to contribute and from which we hope to learn having acquired this technology from the CapCo funding
Collaborator Contribution Sharing experience and expertise and sharing of spectral libraries In addition to the partners noted above, there are three industry partners involved and the group is likely to grow
Impact Nothing yet Conservators, heritage scientists and instrument manufacturers
Start Year 2022
 
Description A closer look at Pesellino 
Form Of Engagement Activity Engagement focused website, blog or social media channel
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A short video shared via Youtube entitled 'A closer look at Pesellino' was created based around the conservation and technical study of two painting by Pesellino in the collection of the National Gallery. Technical imaging (MA-XRF scanning and reflectance imaging spectroscopy) using equipment upgraded using CapCo funding was a key part of the study as well as the analysis of samples using visible light and scanning electron microscopy, with again upgrades to both having been made possible because of the CapCo funding
Year(s) Of Engagement Activity 2023
URL https://www.nationalgallery.org.uk/behind-the-scenes/behind-the-scenes-in-conservation-a-closer-look...
 
Description Discover Manet and Eva Gonzalès - public exhibition 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact Technical study undertaken of Manet's portrait of Eva Gonzalès using equipment purchased using CapCo funding. Results from this study have been included in a chapter in the exhibition catalogue (see Publications), in associated publicity material and may also feature within the exhibition itself.

'Discover Manet and Eva Gonzalès' is the first in a series of exhibitions that look at a single painting from fresh and unexpected perspectives. A combination of new technical analysis and investigation into the life and times of the artist and his only pupil, aims to take the audience in new directions, approaching this imposing portrait with new eyes. Eva Gonzales (1847-1883), the daughter of a prominent writer, entered Manet's studio in 1869, at the age of 22. This exhibition is a chance to find out more about her; her relationship with Manet, a figurehead for the Impressionist generation, her own work, and what her experience as a woman artist in 19th-century Paris might have been. The exhibition also sets the portrait of Eva Gonzale`s in a broader context by including self portraits made by women from the 18th to early 20th centuries, comparing and contrasting them with portraits painted of them by their male fellow artists and teachers.
Year(s) Of Engagement Activity 2022
URL https://www.nationalgallery.org.uk/exhibitions/discover-manet-and-eva-gonzal%C3%A8s
 
Description Frans Hals - public exhibition 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact Technical study undertaken of a number of paintings by Fran Hals included in the exhibition (including a number of works that were conserved prior to the exhibition) using equipment purchased or upgraded using CapCo funding. This analytical and imaging work was included in the exhibition catalogue (see Publications).
Year(s) Of Engagement Activity 2023,2024
URL https://www.nationalgallery.org.uk/exhibitions/past/the-credit-suisse-exhibition-frans-hals
 
Description Pesellino: A Renaissance Master Revealed - public exhibition 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact Technical study undertaken of two cassone panels of about 1445-55 painted by Francesco Pesellino during their conservation treatment and in advance of the forthcoming exhibition 'Pesellino: A Renaissance Master Revealed' using equipment purchased or upgraded using CapCo funding. Results from this study will inform the exhibition catalogue and will likely feature in supporting material for both the general public and scholars produced to coincide with the exhibition. Working in Florence in the mid-15th century, Pesellino had a short but successful career, joining forces with artists including Fra Filippo Lippi. In particular, he was a skilled draughtsman, visual storyteller and a painter of animals, often producing works on a small scale with wonderfully intricate detail. From the technical study we have a better understanding of his choice of materials and technique and can more clearly reveal just how intricate his working method was, particularly in his use of gold and metal leaf, embelished with tooling or glazes.
Year(s) Of Engagement Activity 2022,2023
URL https://www.nationalgallery.org.uk/exhibitions/pesellino-a-renaissance-master-revealed
 
Description Presentation at the 41st Dyes in History and Archaeology conference 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact A presentation was given at the 41st Dyes in History and Archaeology conference held on 11-13 October 2022 in Visby, Sweden which included results obtained using the fibre optic refletance spectroscopy (FORS) equipment purchased with CapCo funding. The presentation was given by David Peggie, Helen Howard and Jo Kirby and entitled 'Organic Colourants in Margarito d'Arezzo's The Virgin and Child Enthroned, with Scenes of the Nativity and the Lives of the Saints (probably 1263-4): Some unexpected discoveries using a multi-analytical approach'. The resulting work was published as detailed in the publications section
Year(s) Of Engagement Activity 2022
 
Description Presentation at the MA-XRF scanning in Conservation, Art and Archaeology 2022, Delft, Netherlands 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Catherine Higgitt presented research carried out with equipment purchased or upgraded with CapCo funding on paint samples from the Portrait of a Man, possibly Isaac Abrahamsz Massa and Portrait of a Woman Standing, both by Frans Hals (The Devonshire Collection, Chatsworth House) at the MA-XRF scanning in Conservation, Art and Archaeology 2022, Delft, Netherlands, held 26-27 September 2022. The talk, co-authored with Marika Spring, Marta Melchiorre Di Crescenzo and Helen Howard, was entitled 'Seeing in the dark: challenges in the interpretation of XRF element maps associated with black paints'; the paper has also been submitted for the postprints of the conference, to be published as a special issue of the journal X-ray Spectrometry.
Year(s) Of Engagement Activity 2022
 
Description Presentation to the National Gallery's Scientific Consultative Group 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact The new equipment purchased through the CapCo funding, initial results obtained and the future plans for the use of this equipment were presented at the 2021 annual National Scientific Consultative Group meeting
Year(s) Of Engagement Activity 2021
 
Description Presentation to the National Gallery's Scientific Consultative Group 2022 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact The on-going results of work facilitated or made possible by the new equipment purchased through the CapCo funding were presented at the 2022 annual National Scientific Consultative Group meeting and discussed along with plans for scientific research activity in the coming years
Year(s) Of Engagement Activity 2022
 
Description Presentations to the National Gallery's Scientific Consultative Group 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact The new equipment purchased through the CapCo funding, initial results obtained and the future plans for the use of this equipment featured in presentations at the 2023 annual National Scientific Consultative Group meeting (held in 2024)
Year(s) Of Engagement Activity 2023,2024
 
Description Restoring the Gallery's oldest painting video 
Form Of Engagement Activity Engagement focused website, blog or social media channel
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A short video shared via Youtube entitled 'Restoring the Gallery's oldest painting' was created based around the conservation and technical study of NG564 Margarito d'Arezzo, The Virgin and Child Enthroned, with Scenes of the Nativity and the Lives of the Saints which is one of the paintings where fibre optic reflectance spectroscopy (FORS) proved particularly valuable and was made possible because of the CapCo funding for the FORS equipment
Year(s) Of Engagement Activity 2022
URL https://www.youtube.com/watch?v=9MyIOtuIQJQ
 
Description The Ugly Duchess: Beauty and Satire in the Renaissance - public exhibition 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact Technical study undertaken of Quinten Massys' painting called 'An Old Woman ('The Ugly Duchess')' of about 1513 (NG5769) using equipment purchased or upgraded using CapCo funding. This analytical and imaging work helped to support an essay in the exhibition catalogue (see Publications).
Year(s) Of Engagement Activity 2022,2023
URL https://www.nationalgallery.org.uk/exhibitions/the-ugly-duchess-beauty-and-satire-in-the-renaissance
 
Description Why did Frans Hals paint monsters in his friend's portrait? 
Form Of Engagement Activity Engagement focused website, blog or social media channel
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A short video shared via Youtube entitled 'Why did Frans Hals paint monsters in his friend's portrait?' was created based around the conservation and technical study of Frans Hal's 'Portrait of Issac Massa' (Devonshire Collections, Chatsworth House). Technical imaging (MA-XRF scanning and reflectance imaging spectroscopy) using equipment upgraded using CapCo funding was a key part of the study as well as the analysis of samples using visible light and scanning electron microscopy, with again upgrades to both having been made possible because of the CapCo funding.
Year(s) Of Engagement Activity 2023
URL https://www.nationalgallery.org.uk/behind-the-scenes/behind-the-scenes-in-conservation-solving-the-m...