Lighting the world's treasures: Approaches to safer museum lighting

A strategy is reported to optimize lighting to reduce photochemical degradation of works of art and archival documents. The strategy revolves around improving luminous efficiency of the spectral profile to exclude light which doesn't contribute to brightness or color perception, while also trying to maintain color rendering. The work focuses on Old Master Drawings and designing filters for illuminants, but is applicable to the broad range of art and archival documents and the direct design of lighting without filters such as LED. A filter profile is identified which seems to be beneficial, or at worst neutral for all pigments measured. Underlying principles are identified: (1) The best luminous efficiencies arise from multiple band illuminants, and also improves as color rendering is sacrificed. (2) Protection of an object even late in its damage life can significantly extend its remaining life. (3) Protection of an object early in its life can possibly abate some of the light induced damage it may experience across its life, so early intervention in light protection may be advised. This report further goes on to suggest approaches to further enhance the protection, including tailoring the spectral dependence of appearance change. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2010

[1]  Martin Stopford,et al.  Human Factors in Lighting , 2003 .

[2]  J. Druzik,et al.  A Prism–Grating–Prism Spectral Imaging Approach , 2009 .

[3]  Gertrude Rand,et al.  H–R–R Polychromatic Plates* , 1954 .

[4]  Kenjiro Hashimoto,et al.  A nonlinear color‐appearance model using estévez‐hunt‐pointer primaries , 1987 .

[5]  Y. B. Acharya,et al.  Spectral and emission characteristics of LED and its application to LED-based sun-photometry , 2005 .

[6]  J. Arney,et al.  THE INFLUENCE OF OXYGEN ON THE FADING OF ORGANIC COLORANTS , 1979 .

[7]  Peter Zsolt Bodrogi,et al.  A Comparative Study of New Solid State Light Sources , 2007 .

[8]  D. L. Loe,et al.  Preferred lighting conditions for the display of oil and watercolour paintings , 1982 .

[9]  P. Lanthony,et al.  The desaturated panel D-15 , 1978, Documenta Ophthalmologica.

[10]  Dean Farnsworth,et al.  The Farnsworth-Munsell 100-Hue and Dichotomous Tests for Color Vision* , 1943 .

[11]  N. Brommelle The Russell and Abney Report on the Action of Light on Water Colours , 1964 .

[12]  Yoshihiro Ohno,et al.  Spectral design considerations for white LED color rendering , 2005 .

[13]  P E King-Smith,et al.  A quantitative scoring technique for panel tests of color vision. , 1988, Investigative ophthalmology & visual science.

[14]  G. Thomson A New Look at Colour Rendering, Level of Illumination, and Protection from Ultraviolet Radiation in Museum Lighting , 1961 .

[15]  F. Viénot,et al.  Testing LED lighting for colour discrimination and colour rendering , 2009 .

[16]  Yoshinobu Nayatani,et al.  Development of chromatic adaptation transforms and concept for their classification , 2006 .

[17]  M. Luo,et al.  CMC 2000 Chromatic Adaptation Transform: CMCCAT2000 , 2002 .

[18]  R. L. Feller,et al.  Damaging Effects of Visible and Near-Ultraviolet Radiation on Paper , 1989 .

[19]  W. A. Thornton,et al.  Three-color visual response. , 1972, Journal of the Optical Society of America.

[20]  Mark S. Rea,et al.  Color rendering: A tale of two metrics , 2008 .

[21]  Wencheng Wu,et al.  The CIEDE2000 color-difference formula: Implementation notes, supplementary test data, and mathematical observations , 2005 .

[22]  Yoshihiro Ohno,et al.  Color rendering and luminous efficacy of white LED spectra , 2004, SPIE Optics + Photonics.