Raman spectroscopy is a well-recognised tool for the analysis of materials in canvas paintings. However, it can be difficult to interpret the peaks of the spectra without the additional context of the artwork such as the age, provenance, or colour. Reflectance spectrophotometry can be used to capture the colour of pigments, dyes, and lacquers, but is seldom used to complement Raman data. Additionally, reflectance spectrophotometry results can be influenced by the surface profile of the painting. To overcome these limitations, this work brings together three different analysis modalities to provide a singular, analytical map of the artwork. Raman spectroscopy was used to conduct the chemical identification of pigments, binding media, and varnish present in a synthetic painting sample. Reflectance spectrophotometry was applied to obtain colour information of the surface paint of the sample. Three-dimensional optical profilometry data was used to characterise the micro topology of the paint surface. These three data sets were spatially matched allowing the recorded spectroscopic data to be displayed with the corresponding colour and surface topography across the paint surface.
Keywords: 3-d optical profilometry; Raman spectroscopy; cultural heritage conservation; micro characterisation; reflectance spectrophotometry; spatial mapping.