Detection of transport and age induced damages on artwork:

an advanced concept
M. Morawitz*a , N. Heinb , I. Alexeenkoc , M. Wilkea , G. Pedrinia , C. Krekelb , W. Ostena
a Institut für Technische Optik, Universität Stuttgart, Pfaffenwaldring 9, 70569 Stuttgart,
Germany;
b Institut für Technologie der Malerei, Staatliche Akademie der Bildenden Künste Stuttgart,

Am Weißenhof 1, 70191 Stuttgart, Germany;

c Immanuel Kant Baltic Federal University, Nevsky Str. 14, 23041 Kaliningrad, Russia

ABSTRACT
For the society it is of great interest to make cultural heritage accessible to the general public. The subsequent
increase of museum loan services increases the risk of accelerated degeneration. Hence, in addition to the age
related deterioration, transportation can be another source of damage. Despite modern packaging technologies,
vibrations and environmental climate change can add up and damage the transported object. Besides obvious
mechanical influencing quantities, a main concern is the detection of climate induced damages. Changes in
the relative humidity cause inner strain, which may lead to defect formations and damages. White light fringe
projection was applied to detect object changes due to variations of the relative humidity. First measurements
indicated a sensitivity down to a relative humidity change of 6 %. Recently, the Stuppach Madonna, a painting
by Matthias Grünewald (painted 1514 - 1516), was investigated with shearography after the return from an
exhibition. The obtained shearograms revealed a variety of defects like bubbles, delaminations and tunnels
caused by wood worms. Even the planking of the wooden panel and existing putty could be detected.
This paper describes the first steps of a project with the aim of investigating and implementing a method to
detect and classify transport related damages on works of art.
Keywords: artwork inspection, transport damages, optical metrology, shearography, fringe projection

1. INTRODUCTION
Cultural heritage as the living witness of centuries-old traditions imparts an intellectual message from the past
forming people’s present identity. It is the responsibility of mankind to preserve these common values in their
full richness of their authenticity and hand them on to upcoming generations.1 Cultural awareness is supported
by temporary exhibitions in museums. Those exhibitions are expression and instrument of art science research.
Scientific content is communicated and an additional audience is attracted, which usually would not be engaged
with the exhibited art. The subsequent increase of museum loan services manifests in a large number of art
transportation.
Due to diverse chemical and physical processes, aged paint layers usually lost much of their original flexibility
and structural integrity. Despite modern packaging technologies, vibrations and environmental climate change
can add up and damage the transported object.2 Hence, in addition to the age related deterioration, trans-
portation can be another source of damage for artwork, which often consists of complex material compositions.
Forming a cultural understanding, for example by the aid of temporary exhibitions, is an aim of art science.
This results in a conflict between wanted mobility of artwork to improve the worldwide mutual understanding
and the preservation of our cultural heritage. This dispute is countered by museums around the world through
elaborate sets of measures, developed and monitored by academically well trained conservators. Over the years
the professionalism of transportation has increased and has become extremely expensive. Together with the costs
*Further author information:
morawitz@ito.uni-stuttgart.de; phone ++49 (0) 711 / 685-66528

Optics for Arts, Architecture, and Archaeology IV, edited by Luca Pezzati,
Piotr Targowski, Proc. of SPIE Vol. 8790, 879004 · © 2013 SPIE
CCC code: 0277-786X/13/$18 · doi: 10.1117/12.2020582

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 of insurance, the costs of transportation contribute the lion’s share of the costs of an exhibition. In traditional
conservation techniques the evaluation and quantification of smallest changes and defects results mostly from
an optical and subjective assessment and comparison of the previous and the subsequent condition. Due to fast
construction of exhibition sites, also experienced experts are not always able to distinguish a new defect from
an old one or detect an expansion of a defect in an appropriate and objective way. Microscopic changes in the
material as well as damages beneath the surface, like larger delaminations, commonly remain undetected. For
the determination of actual changes and the investigation of their causes, quantitative and objective data are
not available to the necessary extend. Thus, for artwork the terms aging, alteration and damage are not well
defined and distinguished from one another. Additionally, insurances rely on objective data for the assessment
of damages and claim settlement. Therefore, in recent years the wish for modern inspection technologies to deal
with these challenges has extremely increased.
The investigation and assessment of transport induced consequences and damages call for a comparative
documentation. In an effective and objective way, relevant conditions of the artwork (e.g. before and after
transportation) have to be monitored and compared. Systematic investigations on detection and comparison of
structural features and characteristics were done in the framework of the MultiEncode-Project.3, 4 In the past,
various optical methods have been applied for monitoring the structural condition of artwork with promising
results.5, 6 Shearography has proven to be beneficial, because of its insensitivity against rigid body movement
and the possibility to detect subsurface defects.7–11 Besides obvious mechanical influencing quantities, a main
concern is the detection of climate induced damages. During transportation, smallest changes in the relative
humidity can add up and cause inner strain, which can lead to defects. White light fringe projection can be
applied to detect object changes due to variations of the relative humidity.
The future goal of the project is the combination of three dimensional topographic measurements by fringe
projection with structural information obtained by shearography. A method capable of comparing different ob-
ject states (e.g. before and after transportation) has to be implemented. Additionally, a method to define and
differentiate defect characteristics has to be developed. This paper represents the first steps of the mentioned
project to detect and classify transport related damages on artwork and will discuss an approach to investigate
and detect topographical and structural changes and damages via fringe projection and shearography.

2. ARTWORK - OBJECT OF INVESTIGATION

Movable cultural heritage, like paintings and sculptures, are in the focus of this paper’s investigations. Due
to the nature of art, every artwork is unique. Hence, there is no universally valid model to describe them.
Nevertheless, within a certain range, different kinds of artwork can be categorized. For example, sculptures are
three dimensional objects having different size, shape and materiality. Whereas, the main aesthetic function of
paintings normally is located on a - compared with the objects dimension - plane surface. Paintings usually consist
out of different layers of material, which roughly are support, primer, different layers of paint and varnish. Other
layers such as a size (glue), a preparatory drawing, an imprimatur, possible sheets of gold or silver, and additional
layers of paint, applied pastose or glazed, can complement the painting technique composition. According to an
artistically free design, additional layers and other combinations can be found. The materiality itself may also be
very complex, since the material composition of paintings is often dominated by composite materials of different
chemical substances. Further generalization of artwork is very difficult, because objects of art are an expression
of individual and unique artistic achievement.
Historical works of art from different eras show an inimitable cultural and historical character and a more
or less aged material structure. The conservation status depends on various influences, like storage conditions,
chemical decomposition processes of the materials, object handling in general and especially during transporta-
tion. Based on the complexity of the painting technique composition and the materiality itself, the diverse
surrounding conditions effect the artwork versatile and may result into manifold kinds of damage and defect
characteristics. In general, a damage or defect can be defined as an adversely change to an original or ideal state.
Damages often have their origin within the material structure. Due to the different hygroscopic properties of
the materials used in the multilayer structure of paintings, climatic fluctuations cause strain within the material

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 composition. Besides the obvious impact of mechanical stress, climatic change may also result in cracks, delam-
inations and other defect formation. Especially, during transportation, artwork is exposed to mechanical stress
and climate variations which may lead to microscopic and macroscopic changes of materiality and structure.
Those changes can result into defect formation and damages.
To protect the artwork best possible, certain guidelines have to be respected during an exhibition and trans-
portation. For example, the climate conditions have to be within the range of 20 to 22 ◦ C and 55 to 60 %
relative humidity, whereas fluctuation must not exceed 5 %.12 It should be noted that these guidelines are
object dependent. The effect of a change in relative humidity on the materiality has been investigated by exper-
imental studies with fringe projection. General feature and defect assessment was conducted with shearography.

3. MEASUREMENTS OF DIMENSIONAL CHANGES DUE TO HUMIDITY

VARIATIONS BY FRINGE PROJECTION
Materials respond to climatic changes, like change in temperature and relative humidity, by expansion and
contraction. Based on the material composition of the object, this may lead to structural stress or change
in dimension and can result into defect formation and damages. Especially wood is very sensitive to climatic
changes. As construction material for artwork wood is quite common. For example, most of the paintings either
have a support completely constructed from wood or a wooden framed canvas support. Since climatic change
often occurs during transportation, wooden art in transit is extremely jeopardized to be damaged.

3.1 Objective
The objective is to evaluate the influence of climate changes with respect to swelling or shrinking of the material.
With fringe projection it is possible to create a virtual three dimensional model of an object by measuring and
reconstructing its surface. Changes in the objects dimensions due to climatic variations can than be determined
by evaluating and comparing the cross-sections related to certain climatic conditions.6

3.2 Fringe Projection

Fringe projection is an optical metrology technique to determine the three dimensional shape of an object. The
measurement principle is based on active triangulation. Structured light is projected on the object surface and
recorded by a camera. According to the shape of the object, the projected fringes will be deformed. With the
known geometry between projector and camera, and the recorded fringe projection, three dimensional object
points can be calculated. Since the technique itself is fairly common, for further details on principle and theory
it is referred to the literature.13, 14

3.3 Measurements and Results

To produce a certain climatic condition, it is necessary to exactly control and reproduce climatic parameters
like temperature and relative humidity. In comparison with variations in the relative humidity, the effect on the
materiality which is associated with a change in temperature is negligible. Therefore, the temperature was kept
constant while the relative humidity was altered. Saturated salt solutions and silica gel in a climate chamber
were used to produce a certain constant level of relative humidity. For the measurements a white light fringe
projection system (Steinbichler COMET-system15 ) was used and placed for all measurements at the same dis-
tance to the climate chamber with the specimens inside. Since the specimens remained for the time being in the
climate chamber, the measurements were conducted through the anti-reflection coated plane front glass (Schott
MIROGARD R
) of the climate chamber. Spruce wood cuboids with the dimensions of 30 mm × 20 mm × 5 mm
were used as specimens. The longest edge of each cuboid corresponds to the tangential cutting direction of the
wood. Size and primer were applied to the specimens before they were measured. Figure 1 shows an example of
an untreated specimen, a specimen with size and a specimen with size and primer. As a reference for the spatial
orientation and definition of the object coordinate system, a plastic cuboid was placed together with the wooden
specimens on to a rotation disc in the climate chamber. For a complete object acquisition of a certain climate
condition, a measurement was conducted every 60◦ of rotation at stable climatic parameters. The temperature
was held for every measurement at a constant level of 21 ◦ C. The first object acquisition was done after 24

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 tangential cutting direction

radial cutting direction

axial cutting direction

Figure 1. Spruce wood cuboids with dimensions of 30 mm × 20 mm × 5 mm in tangential, radial and axial cutting
direction, respectively. Three different process states are shown. The bottom cuboid is untreated, whereas the middle
cuboid is treated with size only. At the top, a spruce wood cuboid with size and primer is displayed. Only spruce wood
specimens with size and primer were used for the measurements.

hours at a relative humidity of 51 %, the second after 36 hours at a relative humidity of 99 %. Both humidity
levels were generated by the use of saturated salt solutions. After 72 hours at 2 % relative humidity caused by
silica gel, a third object acquisition was done. The last measurement was taken at a relative humidity of 45 %
induced by a saturated salt solution for 24 hours. By comparing the cross-sections along the tangential cutting
direction, changes in dimension related to the different climate conditions could be detected. Figure 2 shows the
relative change of the cross-section along the tangential cutting direction of the spruce wood cuboids specimens
at different relative humidity levels. With respect to the cross-section corresponding to a relative humidity level

9
relative tangential cross-section change [%]

8
7
6
5
4
3
2
1
0
10 20 30 40 50 60 70 80 90
relative humidity [%]
Figure 2. With white light fringe projection evaluated relative change of the cross-section along the tangential cutting
direction of spruce wood cuboids at different relative humidity levels. The relative change is calculated with respect
to the cross-section corresponding to the smallest relative humidity level of 2 %. The solid line shows the first set of
measurements with relative humidity levels of 2 %, 45 %, 51 % and 99 %. The dashed line displays the second set of
measurements with relative humidity levels of 2 %, 45 % (conducted twice), 49 % and 98 %.

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 of 2 % the relative cross-section change in tangential cutting direction was 5.6 %, 6.1 % and 8.1 % for a relative
humidity of 45 %, 51 % and 99 %, respectively. The measurements were repeated by relative humidity levels of
45 %, 98 %, 2 % and again 45 %. With respect to the cross-section corresponding to a relative humidity level
of 2 % the relative cross-section change in tangential cutting direction was 5.6 %, 5.6 % and 8.1 % for a relative
humidity of 45 %, 49 % and 98 %, respectively. A cross-section change in tangential cutting direction between
the relative humidity levels of 45 % and 49 % could not be detected, whereas a cross-section change between the
relative humidity levels of 45 % to 51 % could be observed.

4. STRUCTURAL DIAGNOSIS OF A PAINTING VIA SHEAROGRAPHY

Shearography is a full-field coherent measurement technique similar to holographic interferometry. A benefit of
shearography is its relative insensitivity to environmental disturbances like rigid body movement. Shearography
is also known as speckle shearing interferomtery and sensitive to surface displacement gradients. Displacement
gradient fields are closely related to strain fields. Since structural defects cause stress and strain within an object,
it is possible to detect compromised regions.16

4.1 Principle and Theory of Shearography

Shearography is based on wavefront shearing and self referencing. Figure 3 shows a schematic of a shearographic
setup where the shearing device, responsible for wavefront shearing and self referencing, is given by a Michelson
interferometer. An expanded laser beam is used as coherent light source to illuminate the whole object, or a
certain area. The object’s optically rough surface scatters the incident light forming a speckle pattern. This
speckle image is divided by the beamsplitter and after reflection at the mirrors recombined. One mirror of
the interferometer is slightly tilted, producing a pair of laterally sheared images. Hence, an interferometric
superposition of these two sheared images can be recorded with the CCD camera. The strain information of the
object under investigation can be obtained by double exposure. This means, interferograms of different object
states, for example before and after thermal loading, will be recorded and put into relation by processing them
to obtain a shearogram. The fringe pattern of a shearogram describes a relative change in the phase, which is
related to the derivative of deformation and therefore to inner stress caused by structural defects.
A shearographic image, which is an interferogram of a certain object state, for example the initial state before
thermal loading, can be mathematically described by

I (x, y) = I0 [1 + γ cos φ (x, y)] (1)

where I0 is the background brightness, γ the modulation of the interference term representing the contrast and
φ (x, y) the random phase difference between interfering object points. I0 and γ are assumed to be constant
over the image. The spatial separation of interfering neighboring points is expressed by a difference in the phase
relation, which leads to the phase difference by

φ (x, y) = θ (x, y) − θ (x + dx, y + dy) (2)

where θ (x, y) and θ (x + dx, y + dy) are the phases of the interfering neighboring object points. dx and dy refer
to the amount of shear in x- and y-direction, respectively. For further reference, a shear in only one direction,
either in x-direction (θ (x + dx, y)) or in y-direction (θ (x, y + dy)), will be assumed. By deforming the object,
for example by thermal loading, changes of surface displacements will occur leading to a relative phase change.
A shearographic image of such a deformed state can be expressed as

I 0 (x, y) = I0 [1 + γ cos φ0 (x, y)] (3)

where φ0 (x, y) is the phase difference between interfering object points after deformation. The change in the
phase difference due to deformation may be written as

∆φ (x, y) = φ0 (x, y) − φ (x, y) (4)

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 Beam expansion lens

Laser

O Mirrors
b
j
e
c
t
Beamsplitter
x

CCD
camera
y z
Infrared lamp
Figure 3. Shearographic setup. The object under test is illuminated by an expanded laser beam. The resulting speckle
pattern is imaged through a Michelson interferometer with a CCD camera. Whereas one of the mirrors is slightly
tilted, producing a pair of laterally sheared images. The in this way obtained intereferogram is recorded for a particular
object state, e.g. the initial undeformed state before thermal loading. After the object’s surface has undergone a
slight deformation (exaggerated illustrated by the dashed line), e.g. by thermal loading with an infrared lamp, another
interferogram is recorded. The relative phase change between the deformed and the undeformed object state obtained
from the corresponding inteferograms is calculated, which is called a shearogram. If certain conditions are fulfilled, the
shearogram is an approximation for a displacement gradient field which is closely related to a strain field and therefore
can reveal structural defects.

and is determined by the illumination and viewing direction as well as the direction and amount of the applied
shear. If certain conditions are fulfilled, the relative phase change ∆φ may be approximated as an expression for
the out-of-plane displacement gradient:
4π ∂w 4π ∂w
∆φ (x, y) = dx or ∆φ (x, y) = dy (5)
λ ∂x λ ∂y
where λ is the optical wavelength of the coherent illumination, w is the out-of-plane deformation, ∂w/∂x is
the out-of-plane deformation differentiated in the x-direction (horizontal direction), ∂w/∂y is the out-of-plane
deformation differentiated in the y-direction (vertical direction), dx and dy represent the applied amount of shear
in horizontal and vertical direction, respectively.
To calculate the relative phase change ∆φ (x, y), the relative phase differences, φ (x, y) and φ0 (x, y) corre-
sponding to the different object states, have to be determined, which can be done by utilizing the phase-shifting
technique. For each object deformation state a certain number of phase steps is applied due to transverse move-
ment of one of the mirrors. An interferogram of each phase step is recorded representing a particular phase
shift. The interferograms are processed to obtain a map of the phase difference of a particular state in order to
calculate a map of the relative phase change according to equation (4) resulting into a shearogram.16

4.2 Measurements and Results

Recently, the Stuppach Madonna, a painting by Matthias Grünewald (painted 1514 - 1516), was investigated
with shearography after the return from the exhibition “Himmlischer Glanz. Raffael, Dürer und Grünewald
malen die Madonna” in Dresden, Germany (2011/12). In addition to the necessary process of restoration at
the Landesamt für Denkmalpflege Esslingen, scientific research of the painting technique of Matthias Grünewald
should lead to new insights of his oeuvre. The condition of the wooden panel painting was evaluated and recorded
where shearography was applied to assist the conservators to detect otherwise invisible defects and features. Due

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 to the size of the large painting (186 cm × 150 cm) it was segmented into 16 subareas. For each subarea a
separate shearographic measurement was conducted. Therefore, a segment was illuminated by an expanded laser
beam (Coherent Verdi V10) with a wavelength of 532 nm. Before and after thermal loading, interferograms were
recorded and processed with the phase-shifting technique to obtain shearograms.
Figure 4 shows a full scale image of the painting and exemplary four subareas with features and defects
detected by shearography. Each subarea is represented by a shearogram and a corresponding gray scale image.
The shearograms reveal the features and defects which are highlighted in the corresponding gray scale images.
In each subarea only certain defect categories are exemplary shown. For example, the planking of the wooden
panel can be seen in the shearograms g) and i) and are marked in the corresponding gray scale images f) and
h) of figure 4. Delamination and putty are highlighted in figure 4 d). The impact of wood worms is marked in
figure 4 b).

5. DISCUSSION & CONCLUSIONS

The general suitability of two different optical measurement methods for the detection of changes and damages
on artwork due to transportation and aging was successfully investigated. Climate fluctuations are primarily
responsible for object changes which may lead to defect formation. In general, the relative humidity is quite
difficult to control and inheres the strongest impact on an object compared to other climate parameters. White
light fringe projection was utilized to detect changes in the object dimensions due to variations in the relative
humidity. Effects on quadratic spruce wood specimens due to a change of relative humidity down to 6 % were
detected. Hence, it could be confirmed that the investigated specimens are affected by a change in the relative
humidity above the 5 % limit, which is given by the literature.12 However, one must be aware that the impact
of a change in relative humidity does not necessarily always lead to damage and defect formation. The risk of
defect formation due to climatic change depends besides of the change magnitude mainly on the materiality,
the painting technique composition and the condition of the object. Hence, the object itself also has to be
considered by evaluating the consequences of climatic changes. Since this paper represents only the first steps of
an advanced concept, further measurements are necessary and will be conducted to investigate defect formation
due to changes of the relative humidity. Furthermore, the Stuppach Madonna, a wooden panel painting by
Matthias Grünewald, was investigated with shearography to determine structural defects and features. It was
possible to detect features on the surface like existing putty and beneath the surface like the wooden planking
as well as subsurface defects like delaminations and the impact of wood worms. Since it is not possible with
conventional measuring methods of the conservators to visualize subsurface anomalies, shearography has proven
to be an effective and valuable tool to assist the conservators by their task. However, the interpretation of the
shearograms revealed a certain challenge. For example, it was not always possible to distinguish only on basis of
the shearogram the feature of putty from the defect of delamination. At a first look, the shearographic results
only show structural anomalies of unknown kind. The interpretation may than be done on basis of a priory
knowledge of the features of the artwork and certain defect characteristics. In order to unambiguous determine
which features and defects are represented by the anomalies of the shearograms, one has to check with the cor-
responding regions on the object itself. Nevertheless, shearography can be applied to pinpoint in a unique way
regions possibly affected by deterioration. Due to those information conservators may then examine the indicated
regions and are able to take appropriate local limited measures. It should be noted, that in conservation science
normally all measurements have to be verified with the object itself in order to obtain objective data. One of the
future main focus will be the interpretation of the anomalies revealed by measurements on artwork for absolute
and distinct defect and feature assessment.

ACKNOWLEDGMENTS
This research is supported by the Deutsche Forschungsgemeinschaft (DFG) (OS 111/34-1, KR 3118/1-1). The
authors greatly appreciate the cooperation with the Landesamt für Denkmalpflege Esslingen regarding the mea-
surements of the Stuppach Madonna and especially want to thank Andreas Menrad, Ursula Fuhrer and Annette
Kollmann.

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 ","\s","
,, -`'``,%S"

\\",\:::
"\\` \ Ns\

b) c) d) e)

f) g)

a) h) i)
Figure 4. Stuppach Madonna, wooden panel painting by Matthias Grünewald. a) is the full scale image. Images b), d),
f), h) and the corresponding shearograms c), e), g), i) show four measured segments exemplary representing certain defect
categories. The exemplary defect areas seen in the shearograms are marked in the corresponding gray scale images. The
hatched marking in b) shows the impact of wood worms. The bright highlighted structures in d) show delamination and
putty. The marked structure in f) and h) displays the wooden planking.

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