Its been found , the darker the tones on Mona Lisa , grains and tonal degrades are more turbulent but in the way of stronger amplitude pattern with compared to lighter tones , it means its a fractal tree.
It makes tonal degrades and shadows so complex , it would possible to gaze the portrait for couple of hours or days or lets say for mona lisa ,not be able to perceive it completely. may be thousands of researchers spent their lives for that problem.
And the glaze effects , thinning the glaze with some tones , some top colored layers .
Here are some papers to you
http://www.apug.org/forums/forum217/135087-leonardos-mona-lisa-glaze-varnish-formulas-his-sfumato-technique.html
And new papers attached :
The Turbulent Structure of "Sfumato" within "Mona Lisa"Author(s): Diogo Queiros-CondeSource: Leonardo, Vol. 37, No. 3 (2004), pp. 223-228Published by: The MIT PressStable URL: http://www.jstor.org/stable/1577726
Special visual effect of art glazes explained
by the radiative transfer equation
Lionel Simonot, Mady Elias, and Eric Charron
We present the first modeling of the light scattered by a paint layer in a bidirectional configuration. The
studied medium is composed of small concentrated pigments embedded in an oil binder. The color is
modulated by changing the number of paint layers, called glazes. The radiative transfer equation is
established for incoherent light scattered by the pigments with use of a collimated illumination. The
equation is solved by use of the auxiliary function method. This new method, applied here for the first
time to a practical case, allows for exact computations of the scattered flux for any incident and collected
directions. Spectroscopic and goniometric measurements are implemented in bidirectional and backscattered
configurations. The excellent agreement between the measurement and the simulation validates
the assumptions used for the glaze model and proves the effectiveness of the auxiliary function
method. © 2004 Optical Society of America
OCIS codes: 030.5620, 290.4210, 290.5820, 300.6550.
Multispectral camera and radiative transfer equation
used to depict Leonardo’s sfumato
in Mona Lisa
Mady Elias1,2,* and Pascal Cotte3
1Institut des NanoSciences de Paris, Université Pierre et Marie Curie, Unité Mixte de Recherche 7588,
Centre National de la Recherche Scientifique, Campus Boucicaut, 140 rue de Lourmel, 75 015 Paris, France
2Université d’Evry Val d’Essonne, boulevard François Mitterrand, 91000 Evry, France
3Lumiere Technology S.A.S., 215 bis Boulevard St. Germain, 75 006 Paris, France
*Corresponding author: elias@physique.univ-evry.fr
Received 8 January 2008; revised 13 March 2008; accepted 14 March 2008;
posted 17 March 2008 (Doc. ID 91529); published 18 April 2008
The technique used by Leonardo da Vinci to paint flesh tints—the sfumato—has never been scientifically
depicted until now. From 100,000,000 reflectance spectra recorded on Mona Lisa, a virtual removal of the
varnish is first obtained. A unique umber pigment is then identified in the upper layer and an exceptional
maximum of the color saturation is underlined, both characteristics of a glaze technique. The modeling
calling upon the radiative transfer equation confirms this maximum of saturation, the identification of an
umber in the upper layer, and moreover underlines a mixture of 1% vermilion and 99% lead white in the
base layer. Finally, the modeling, using the auxiliary function method, explains the spectacular maximum
of saturation by the multiple scattering. © 2008 Optical Society of America
Separation between the different fluxes scattered by
art glazes: explanation of the special color saturation
Mady Elias and Lionel Simonot
Microanalysis of organic pigments and glazes
in polychrome works of art by surface-enhanced
resonance Raman scattering
Marco Leona
Department of Scientific Research, The Metropolitan Museum of Art,1000 Fifth Avenue, New York, NY 10028
Communicated by Roald Hoffmann, Cornell University, Ithaca, NY, June 25, 2009 (received for review May 21, 2009)
It makes tonal degrades and shadows so complex , it would possible to gaze the portrait for couple of hours or days or lets say for mona lisa ,not be able to perceive it completely. may be thousands of researchers spent their lives for that problem.
And the glaze effects , thinning the glaze with some tones , some top colored layers .
Here are some papers to you
http://www.apug.org/forums/forum217/135087-leonardos-mona-lisa-glaze-varnish-formulas-his-sfumato-technique.html
And new papers attached :
The Turbulent Structure of "Sfumato" within "Mona Lisa"Author(s): Diogo Queiros-CondeSource: Leonardo, Vol. 37, No. 3 (2004), pp. 223-228Published by: The MIT PressStable URL: http://www.jstor.org/stable/1577726
Special visual effect of art glazes explained
by the radiative transfer equation
Lionel Simonot, Mady Elias, and Eric Charron
We present the first modeling of the light scattered by a paint layer in a bidirectional configuration. The
studied medium is composed of small concentrated pigments embedded in an oil binder. The color is
modulated by changing the number of paint layers, called glazes. The radiative transfer equation is
established for incoherent light scattered by the pigments with use of a collimated illumination. The
equation is solved by use of the auxiliary function method. This new method, applied here for the first
time to a practical case, allows for exact computations of the scattered flux for any incident and collected
directions. Spectroscopic and goniometric measurements are implemented in bidirectional and backscattered
configurations. The excellent agreement between the measurement and the simulation validates
the assumptions used for the glaze model and proves the effectiveness of the auxiliary function
method. © 2004 Optical Society of America
OCIS codes: 030.5620, 290.4210, 290.5820, 300.6550.
Multispectral camera and radiative transfer equation
used to depict Leonardo’s sfumato
in Mona Lisa
Mady Elias1,2,* and Pascal Cotte3
1Institut des NanoSciences de Paris, Université Pierre et Marie Curie, Unité Mixte de Recherche 7588,
Centre National de la Recherche Scientifique, Campus Boucicaut, 140 rue de Lourmel, 75 015 Paris, France
2Université d’Evry Val d’Essonne, boulevard François Mitterrand, 91000 Evry, France
3Lumiere Technology S.A.S., 215 bis Boulevard St. Germain, 75 006 Paris, France
*Corresponding author: elias@physique.univ-evry.fr
Received 8 January 2008; revised 13 March 2008; accepted 14 March 2008;
posted 17 March 2008 (Doc. ID 91529); published 18 April 2008
The technique used by Leonardo da Vinci to paint flesh tints—the sfumato—has never been scientifically
depicted until now. From 100,000,000 reflectance spectra recorded on Mona Lisa, a virtual removal of the
varnish is first obtained. A unique umber pigment is then identified in the upper layer and an exceptional
maximum of the color saturation is underlined, both characteristics of a glaze technique. The modeling
calling upon the radiative transfer equation confirms this maximum of saturation, the identification of an
umber in the upper layer, and moreover underlines a mixture of 1% vermilion and 99% lead white in the
base layer. Finally, the modeling, using the auxiliary function method, explains the spectacular maximum
of saturation by the multiple scattering. © 2008 Optical Society of America
Separation between the different fluxes scattered by
art glazes: explanation of the special color saturation
Mady Elias and Lionel Simonot
Microanalysis of organic pigments and glazes
in polychrome works of art by surface-enhanced
resonance Raman scattering
Marco Leona
Department of Scientific Research, The Metropolitan Museum of Art,1000 Fifth Avenue, New York, NY 10028
Communicated by Roald Hoffmann, Cornell University, Ithaca, NY, June 25, 2009 (received for review May 21, 2009)
