New micro-positioning easel reveals secrets of old masters

The micro-positioning easel is giving scientists at The National Gallery, London, the ability to examine great works of art in unprecedented detail and is being used to analyse the paintings in a major new exhibition, Making Colour. 

Funded through the support of the Engineering and Physical Sciences Research Council (EPSRC), the computer controlled easel is capable of safely holding a very large painting and moving it in minute steps to make the most of the latest digital technology. Identifying the materials used as pigments provides information on aspects such as the age of a picture and the painting technique used. 

Scientists and other researchers at the National Gallery use digital imaging to build up a high resolution image of paintings to learn about their structure, the way they are  made and what needs to be done for their preservation. The easel will open up opportunities to try out new types of research such as hypersepectral imaging.

Infrared imaging, X-ray imaging, electron microscopy and mass spectrometry are all used to discover more about the materials used by artists in the past and how they are likely to change over time.

Ashok Roy, the Director of Collections at the National Gallery, expects that the National Gallery team will be able to acquire very high resolution images in various parts of the spectrum that would be unobtainable without this technology.

The National Gallery’s new Making Colour exhibition traces the history of how materials, natural and artificial, such as minerals and dyes were used to create colour in paintings from the Middle Ages to the end of the 19th century. Through a series of colour themed rooms visitors can experience how artists used colour and materials in their art.

A good example is Sassoferrato’s Virgin in Prayer, one of the paintings in the exhibition, which is painted in a rich deep royal blue.

“Look at it from a distance and you might only see a single, strong blue, but if you’re able to look at it much more closely you will see more subtlety to it," says Joseph Padfield, conservation scientist at the National Gallery. "You will see the different brushstrokes that form the shadows and the highlights on the cloak and the details of how the fabric has been portrayed.”

In the past the only way to really see this amount of detail is to take the painting down and look at it under a microscope, an option which is reserved for a very few people. Padfield again: “If you’re able to use equipment, like our new easel, to capture extremely high resolution images of a painting, then that special experience of beginning to explore how such a fabulous painting was created can be accessible to many more people.”

The easel is also helping inspire a part of the Making Colour exhibition. Visitors can get involved in an interactive experiment that will feed into future research on human colour perception. It involves capturing the responses of people as they view a picture under different conditions, using a tunable LED light source.

Making Colour is on at the National Gallery until the 7th September 2014.