Spectral images of a Mary Cassatt painting of a woman holding a baby.

What Lies Beneath

The Science of Spectral Photography Applied to Paintings from the Permanent Collections

March 26–June 9, 2024

Forsyth Galleries | Memorial Student Center, MSC 2428

Recently, the Forsyth took the opportunity to use spectral photography—including Ultra-Violet Florescence, Infrared, and Ultra-Violet Reflectance—to learn more about what is going on below the surface of a select group of paintings in the collection.

Infrared imaging is a non-destructive technique used by art conservators to examine paintings and artworks and detect hidden details under the upper layers such as added paint, underdrawings, and hidden signatures or watermarks. The technique has been used to discover details of artists’ creative processes, alterations and reworking. Infrared examination also can be used as a tool to differentiate between certain groups of pigments and inks. Recently, the Forsyth took the opportunity to use spectral photography—including Ultra-Violet Florescence, Infrared, and Ultra-Violet Reflectance—to learn more about what is going on below the surface of a select group of paintings in the collection, including works by Mary Cassatt, Julian Onderdonk and Thomas Moran.

 

Inside the Exhibition

Fechin portrait of a young girl.
images of a Bierstadt water landscape.
Mary Cassatt portrait of a woman holding a baby.
Moran painting of a water landscape.
A Luks self portrait with a tobacco pipe.
Four spectral images of a Fechin portrait of a young girl.
Four spectral images of a Bierstadt water landscape.
Four spectral images of a Mary Cassatt portrait of a woman holding a baby.
Four spectral images of a Moran water landscape.
Three spectral images of a Luks portrait of a man with a pipe.