Behind the Scenes, Conservation, Education, Getty Conservation Institute

Boot Camp for Conservators Explores X-Ray Fluorescence Spectrometry

Conservators flex their analytical muscles as they learn to use this scientific tool to study and understand art and cultural heritage collections

I recently returned from an intensive four-day boot camp in New Haven co-organized with the Yale Institute for the Preservation of Cultural Heritage. But don’t picture me doing crunches and push-ups. This was boot camp for conservators, and our focus was X-ray fluorescence spectrometry—XRF for short. This analytical technique provides information about material composition without physically removing a sample from the object, always a plus when dealing with treasured works of art.

Using XRF to analyze Pluto Abducting Proserpine / Francois Girardon

Using an open-architecture XRF unit to analyze the metal composition of a bronze sculpture by François Girardon, Pluto Abducting Proserpine (1693–1710), in the collection of the J. Paul Getty Museum

XRF is widely used in industry and manufacturing, from quality control assessment to identifying different types of scrap metals. It made its first appearance in the museum world in the hands of a conservation scientist, who was using a handheld XRF unit, at the Museum of Modern Art in 2000. In recent years, as handheld XRF instruments became more affordable and easy to use, many museums and cultural institutions have acquired these portable units. Conservation scientists have been meeting periodically to discuss ways to optimize and standardize the use of this important technique.

XRF analysis being performed on Cardinal d'Amboise / Nicephore Niepce

Smaller handheld XRF units can be set up on a tripod for extra stability. Here XRF analysis is performed on a plate of Cardinal d’Amboise by photographer Nicéphore Niépce, from the Royal Photographic Society collection at the National Media Museum, Bradford, UK

Previously the exclusive domain of conservation scientists, XRF has increasingly become an important tool for conservators. Handheld units can be used like a point-and-shoot camera, with the resulting scientific data (elemental spectra that suggest what the material is) obtained in a short amount of time. However, works of art are frequently complex or are composed of composite structures, and special consideration must be given to the interpretation of the XRF results. For this reason, the Getty Conservation Institute, in collaboration with the Yale Institute for the Preservation of Cultural Heritage, organized a focused workshop on the fundamentals of XRF and data interpretation for conservators.

Aniko Bezur works with conservators at the Yale Center of Conservation and Preservation

Aniko Bezur (far right), director of scientific research at the Yale Center of Conservation and Preservation, working with Boot Camp participants.

In November we held the first XRF Boot Camp for conservators who work at institutions without a conservation scientist on staff or with only limited access to one. We had participants from across the globe, including Singapore, Qatar, Japan, Norway, and Ireland, as well as the United States.

XRF analysis of The Title Makers / Alfred Jensen

Boot Camp participants use XRF to analyze the material composition of panels from The Title Makers, an oil painting series by Alfred Jensen in the collection of the Yale University Art Gallery. Foreground: To Aim and Excel; background: Lost, Entanglement and Survival, both 1959, 77 x 42 in.

After four days of lectures, lab practicals and group projects using objects from the Yale University Art Gallery and the Yale Peabody Museum, the participants came away with a well-grounded understanding of how XRF works. One of the important learning experiences was following the scientific process, including setting up and preparing for analysis of a specific type of object, defining the questions, and determining if other complementary analytical techniques may be needed to answer those questions. For example, conservators are often asked if there is lead or arsenic in some ethnographic materials. XRF can tell you whether they are present, but not what the toxicity levels may be. You would need complementary analysis to answer these types of questions.

Conservators examine scientific data collected at the GCI-Yale XRF Boot Camp

Examining data collected on day 3 of the XRF Boot Camp.

By the end of XRF Boot Camp it was very rewarding to see the transformation of the participants as they developed a stronger understanding of the data—moving from “What does this mean?” to “I know what it is telling me.” We were inspired by the learning that took place over those four days and are exploring the possibility of repeating the XRF Boot Camp for Conservators in the future.

Tagged , , , , , , Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.

One Comment

  1. tom heller
    Posted March 7, 2014 at 7:51 am | Permalink

    I have a 19th C oil painting on canvas that has another painting underneath and am looking for a facility to x-ray my painting. After months of research into this painting, I believe it is by an important artist. My home is in the SanFrancisco area and I plan to visit your museum in the spring. Would you be interested in x-raying my painting or can you recommend another facility?

Post a Comment

Your email is never published or shared. Required fields are marked *

*
*

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

  • Facebook

  • Twitter

  • Tumblr

    • photo from Tumblr

      It’s been 125 years since Van Gogh’s death, today we celebrate his life’s work.


      5 Ways to See Van Gogh’s Irises

      Through observations, visitor conversations, and some sneaky eavesdropping, we’ve compiled the top 5 ways people enjoy this painting.

      1. In a Crowd
        One of the most obvious ways that people see the painting is in a crowd. The gallery is almost always filled, and you might have to wait before you can get up close. The anticipation builds as you start in the back row, and slowly move until you are close enough to see the brushstrokes of Van Gogh’s thick paint.

      2. Online
        David from Colorado said that this was his first visit, but he had already seen the painting online. In addition to being available through the Getty’s Open Content program, the painting is often seen on social media. Just search #irises on Instagram for a taste of the painting’s popularity. 

      3. Alone
        If you arrive right at 10 a.m. when the museum opens, the quiet gallery provides a perfect backdrop to really examine the painting. Solitude and seclusion gives the gallery a sense of intimacy. 

      4. Multiple Times
        Repeat visits can give rise to multiple interpretations. Is it a melancholy or joyous painting? Expressive or depressive? 

      5. Internationally
        Visitors from all across the world viewed this famous Van Gogh. In just one hour I heard multiple languages—French, Italian, Chinese, Korean, German, and more. Irises seems to rise above cultural boundaries—a Dutch painting inspired by Japanese ukiyo-e prints—to strike an emotional resonance amongst all viewers. 

      What is your favorite lens to view Van Gogh’s work through? 

      07/29/15

  • Flickr