The study and characterization of an art work carried out by two or more artists is always an interesting challenge since each painter, although belonging to the same artistic current, can introduce specific pictorial materials or peculiar aesthetic effects, which constitute the artist fingerprint. This work presents a preliminary analytical study of the “Portrait of Mario Nuzzi”, painted by Giovanni Maria Morandi and Mario Nuzzi. In particular, non-invasive investigations were conducted using UV–VIS–NIR–SWIR multispectral imaging, radiography and X-ray spectroscopy (XRF). Multivariate analyses (PCA) were performed on VIS–NIR multispectral imaging in order to highlight some details not clearly visible using a traditional univariate analysis. Such an approach could be useful for authentication processes. In particular, in this paper we propose the use of the score density plot to determine the artist’s “chiaroscuro” fingerprint. Finally, the artist’s palette was compared with that of the “Primavera” painting, painted by Mario Nuzzi and Filippo Lauri, by using XRF analyses. We discovered that “Portrait of Mario Nuzzi” has not been significantly changed since the final version. Furthermore, the elemental composition of the pigments revealed that the palette used in the two paintings does not completely overlap. This aspect encourages us to perform a more detailed analysis of the pigments with the aim of better discriminating the parts painted by Mario Nuzzi from those of each collaborator.

对两个或更多艺术家进行的艺术作品的研究和表征始终是一个有趣的挑战，因为尽管每个画家都属于同一艺术潮流，但他们可以引入特定的绘画材料或特殊的美学效果，从而构成画家的指纹。这项工作是乔凡尼·玛丽亚·莫兰迪（Giovanni Maria Morandi）和马里奥·纳兹（Mario Nuzzi）绘画的“马里奥·纳兹的肖像”的初步分析研究。特别是，使用UV-VIS-NIR-SWIR多光谱成像，放射线照相和X射线光谱（XRF）进行了非侵入性研究。在VIS–NIR多光谱成像上进行了多变量分析（PCA），以突出使用传统的单变量分析无法清晰看到的一些细节。这样的方法对于认证过程可能是有用的。尤其是，“明暗对比”指纹。最后，通过XRF分析，将画家的调色板与Mario Nuzzi和Filippo Lauri绘制的“ Primavera”绘画的调色板进行了比较。我们发现，自最终版本以来，“ Mario Nuzzi肖像”并没有发生重大变化。此外，颜料的元素组成表明，两幅画中使用的调色板没有完全重叠。这方面鼓励我们对颜料进行更详细的分析，以更好地将Mario Nuzzi绘制的部件与每个合作者的部件区分开。