Workflow is another key element in fine art repro. It is important to get a good capture. I have been using strobes and cross polarization for thirty years. Back in the days of film, it was much trickier--practically impossible to make a "true-color" reproduction, especially when you factored in the limitations of offset lithography.
The digital age has made it possible to come within a few percentage points of accurately recording and reproducing most flat artwork.
In the days of film, I used hot lights. Bardwell & McAllister made wonderful lights for continuous and ultra even illumination across the picture plain. They are still around and I believe that light is still available.
Fortunately, the digital age changed everything for the better. About seven years ago, I began using a multi-shot camera with custom profiles, a high-end monitor, Photoshop, and large format printers. High-quality strobe lights offered much more precision (especially with multi-shot photography) and a lot more flexibility. I also liked not exposing original artwork to hot lights. Come to think of it, I didn't like being subjected to the heat either.
Sure, you can measure any light source with a color meter and find the peaks and valleys of color output across the visual light spectrum. But there are so many steps along the way after the initial capture that are available to compensate for irregularities.
Learning how to exploit Pro Photo RGB, LAB, CMYK, and understanding additive color versus subractive color make all the difference in the world in terms of being able to efficiently reproduce artwork.
In other words, lighting is just one aspect, albeit important, in the chain of reproducing accurate hue, saturation, and tonality in the final product.
And by the way, Better Light scanning backs are excellent--they require continuous light sources. Robin Myers knows his stuff for sure. I opted to go with a multi-shot solution because as a platform it enabled me to use single shot in the studio to capture living things--like dogs and humans.