Using convex geometry-based multivariate analysis, three spectral endmembers were identified: oil, alkyd resin, and a third binder. The near-infrared image cubes were collected with a high-spectral resolution (2.8 nm sampling) hyperspectral camera. To determine where he used alkyd and oil paints in Lavender Mist, we utilized near-infrared spectral regions (1615–18–2200 nm) that allowed discrimination between these binding media, especially when the first derivative spectra were examined. Prior analysis of micro-samples from drip paintings found Pollock was extensively using alkyd-resin paints by 1949 (in addition to oil) which led to a hypothesis that he selectively used alkyd and oil paints to obtain the fluid, gestural marks characteristic of his mature style. Pollock's drip paintings were created by allowing the paint to “pour” from his brush/stick down onto the canvas. Near-infrared diffuse reflectance imaging spectroscopy (NIR-RIS, 1000 to 2500 nm) was used to map the use of alkyd and oil paints in Jackson Pollock's Num( Lavender Mist), one of his most important ‘drip’ or ‘poured’ paintings.
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