Abstract Spectral and color characterizations reveal aspects of artworks which support the criteria for restoration and subsequent processes. Usually, the aim is to characterize the different compounds and their state in artworks by means of minimally invasive analyses and to provide information on deteriorated areas. It has been applied spectral analysis and other techniques to study the 2011 varnish-removal restoration of Picasso’s Woman in Blue, painted in 1901. Instrumental analyses indicated that the varnish removed in this restoration was an acrylic resin, unavailable at the time Picasso painted this artwork. This varnish acted as a filter absorbing visible light in a selective way (17–24%), modifying the color appearance of the original paint. The painting was characterized spectrally before and after the restoration, indicating that the average color difference for a set of 140 points regularly distributed throughout the painting was 3.8 Commission Internationale de l´Éclairage 1976 L*a*b* units. Specifically, on the average, the restoration substantially increased lightness, slightly decreased chroma, and caused a shift toward less yellow hues. Color changes in two different regions of the painting indicated hue-shifts in different directions. Current measurements will be useful in general conservation processes as a reference to determine future degradation.

中文翻译：

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清漆对毕加索《蓝衣女人》色彩影响的评价

摘要 光谱和颜色特征揭示了支持修复和后续过程标准的艺术品的各个方面。通常，目的是通过微创分析来表征艺术品中的不同化合物及其状态，并提供有关退化区域的信息。已应用光谱分析和其他技术来研究毕加索 1901 年画的《蓝衣女郎》的 2011 年清漆去除修复。仪器分析表明，该修复中去除的清漆是丙烯酸树脂，在毕加索绘制这件艺术品时无法使用. 这种清漆充当过滤器，以选择性方式 (17–24%) 吸收可见光，改变原始油漆的颜色外观。这幅画在修复前后都有光谱特征，表明在整幅画中规则分布的一组 140 个点的平均色差为 3.8 Commission Internationale de l´Éclairage 1976 L*a*b* 单位。具体而言，平均而言，修复显着增加了亮度，略微降低了色度，并导致向较少的黄色色调转变。这幅画的两个不同区域的颜色变化表明了不同方向的色调变化。当前的测量将在一般保护过程中用作确定未来退化的参考。并导致向较少的黄色色调转变。这幅画的两个不同区域的颜色变化表明了不同方向的色调变化。当前的测量将在一般保护过程中用作确定未来退化的参考。并导致向较少的黄色色调转变。这幅画的两个不同区域的颜色变化表明了不同方向的色调变化。当前的测量将在一般保护过程中用作确定未来退化的参考。