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	Author	Pennycook, T.J.; Martinez, G.T.; O'Leary, C.M.; Yang, H.; Nellist, P.D.
	Title	Efficient Phase Contrast Imaging via Electron Ptychography, a Tutorial			Type	A1 Journal article
	Year	2019	Publication	Microscopy and microanalysis	Abbreviated Journal	Microsc Microanal
	Volume	25	Issue	S2	Pages	2684-2685
	Keywords	A1 Journal article; Electron microscopy for materials research (EMAT)
	Abstract
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date	2019-08-06
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN	1431-9276	ISBN		Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	EMAT @ emat @c:irua:172444			Serial	6424
Permanent link to this record



	Author	Klaassen, L.; van der Snickt, G.; Legrand, S.; Higgitt, C.; Spring, M.; Vanmeert, F.; Rosi, F.; Brunetti, B.G.; Postec, M.; Janssens, K.
	Title	Characterization and removal of a disfiguring oxalate crust on a large altarpiece by Hans Memling			Type	H1 Book chapter
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	263-282 T2 - Metal soaps in art / Casadio, F. [edi
	Keywords	H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
	Abstract	During the conservation treatment of Memling’s Christ with Singing and Music-making Angels, three panel paintings that are among the most monumental works in early Netherlandish art, the conservators came across insoluble surface layers containing calcium oxalates. A very thin and irregular layer of this type, hardly visible to the naked eye, was spread across the surface of all three panels. A much thicker layer forming an opaque and highly disfiguring crust that obscured the composition (Figs. 15.1 and 15.7) was locally present on areas of dark copper-containing paint, where multiple layers of old discolored coatings and accretions remained in place before the most recent cleaning. This article describes the application of a wide range of analytical techniques in order to fully understand the stratigraphy and composition of the crusts on the Memling paintings. FTIR spectroscopy in transmission and reflection mode, micro-ATR-FTIR imaging and macro-rFTIR scanning, SEM-EDX, mobile XRD, and SR-μXRD showed that the crusts contained two related Ca-based oxalate salts, whewellite and weddellite, and were separated from the original paint surface by varnish, indicating that they did not originate from degradation of the original paint but from a combination of microbial action and a thick accumulation of dirt. Supported by the results from these different analytical techniques, which when used together proved to be very effective in providing complementary information that addressed this specific conservation problem, and aided by the presence of the intermediate varnish layer(s), the conservators were able to remove most of the crusts with spectacular results.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date	2019-03-23
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-3-319-90616-4	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:190778			Serial	7609
Permanent link to this record



	Author	Salvadó, N.; Butí, S.; Pradell, T.; Beltran, V.; Cinque, G.; Juanhuix, J.
	Title	Identification and distribution of metal soaps and oxalates in oil and tempera paint layers in fifteenth-century altarpieces using synchrotron radiation Techniques			Type	H1 Book chapter
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	195-210 T2 - Metal soaps in art : conservation and
	Keywords	H1 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
	Abstract	The formation and distribution of metal soaps produced as a result of the reactivity and aging of the materials in a fifteenth-century egg tempera and oil paintings on wood are presented. The painting technique involves the application of several paint layers over a ground using, sometimes in the same paint layer sequence, drying oil and egg yolk binders. We show, with a selection of examples, how the use of thin sections and a combination of various micro-sensitive analytical techniques is adequate to obtain the high-quality data necessary for the unambiguous identification of metal soaps and metal oxalates as well as their distribution in the paint layers. The techniques include micro infrared spectroscopy (μSR-FTIR) and micro X-ray diffraction (μSR-XRD) with synchrotron radiation, optical microscopy (OM), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDS). The data obtained sheds light about the underlying reaction and aging mechanisms happening in each paint layer and among them. This helps to define the state of conservation of the artworks.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date	2019-03-23
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-3-319-90616-4; 2366-6226; 978-3-319-90617-1	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:172891			Serial	8051
Permanent link to this record



	Author	Vanmeert, F.; Van der Snickt, G.; Legrand, S.; Janssens, K.
	Title	Velázquez? A portrait of Pope Innocent X : an X-ray imaging investigation (II)			Type	H3 Book chapter
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	132-141 T2 - Velázquez : Anregungen, Vorschläge, L
	Keywords	H3 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
	Abstract	Encompassing a broad spectrum of methodological approaches and aims, the scholars contributing to this volume offer renewed perspectives on the multifaceted oeuvre of Diego Velázquez. The seventeenth-century artist’s exceptional religious works as well as his numerous portraits are examined within the social and historical context of Velázquez’s milieu which included both the Spanish court as well as circles comprising important intellectual figures of his time. Following a close investigation of his works, which also includes the results of recent technological examinations on his paintings, the contributors to this volume offer new, exciting findings and discussions on the inspirations, sources and possible intentions of Velázquez.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-3-99020-155-8	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:190783			Serial	8736
Permanent link to this record



	Author	Sui, Y.
	Title	Producing nutritional protein with Dunaliella microalgae : technological and economic optimization			Type	Doctoral thesis
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	140 p.
	Keywords	Doctoral thesis; Engineering sciences. Technology; Sustainable Energy, Air and Water Technology (DuEL)
	Abstract	In this thesis, microalga Dunaliella salina is highlighted as a novel source of protein to sustain the human needs. As demonstrated in this thesis, the biochemical composition of D. salina is not fixed, and can be substantially influenced by internal and external conditions. In order to comply with the human requirement of protein, various important factors affecting the protein quantity and quality of D. salina have been evaluated in this thesis for an optimized production strategy. All tested parameters, namely salinity, pH, light regimes (continuous light and light/dark cycle), light intensity, nutrient levels and growth phases can contribute to significant variations of protein content and essential amino acid (EAA) level in D. salina. Ultimately, D. salina is capable of producing high amount of superior quality protein, complying with the FAO reference for human consumption. Even better, such protein of superior quality can be accompanied by unique β-carotene accumulation in D. salina, a pigment with anti-oxidant pro-vitamin A effect. In the end, according to the techno-economic analysis (TEA), it is economically feasible to produce D. salina biomass for human nutrition.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-90-5728-630-8	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:164002			Serial	8420
Permanent link to this record



	Author	Alloul, A.
	Title	Purple bacteria as microbial protein source : technology development, community control, economic optimization and biomass valorization			Type	Doctoral thesis
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	212 p.
	Keywords	Doctoral thesis; Engineering sciences. Technology; Sustainable Energy, Air and Water Technology (DuEL)
	Abstract	Food production is a cornerstone in contemporary industrial societies. Its production requires land, water and enormous amounts of fertilizers. These precious fertilizers enter the linear food chain and suffer from a cascade of inefficiencies, resulting in detrimental effects to the environment. A radical transforming of the current food production chain is, therefore, essential to guarantee a sustainable future for humanity. This thesis has studied the production of microbial protein (i.e. single-cell protein), which is the use of microorganisms such as yeast, fungi, algae and bacteria as protein ingredient for animal feed. The type of microorganisms targeted in this thesis were purple non-sulfur bacteria (PNSB). These bacteria are an extremely heterogenic group that contain photosynthetic pigments and are able to perform anoxygenic photosynthesis. The core focus of the thesis was technology development for the production of PNSB as a source of microbial protein on wastewater and fresh fertilizers. In the final stage of this research, it was the objective to explore the potential of PNSB as a nutritious feed ingredient for shrimp. Overall, this work has provided the building blocks to transform the conventional food production chain. The findings show that PNSB production and biomass valorization is within reach. Further pilot implementation and cost reduction will facilitate the introduction of PNSB production in future’s wastewater treatment plants and the valorization of the biomass as nutritious animal feed ingredient.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-90-5728-636-0	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:164820			Serial	8430
Permanent link to this record



	Author	Monico, L.; Hendriks, E.; Geldof, M.; Miliani, C.; Janssens, K.; Brunetti, B.G.; Cotte, M.; Vanmeert, F.; Chieli, A.; Van der Snickt, G.; Romani, A.; Melo, M.J.
	Title	Chemical alteration and colour changes in the Amsterdam sunflowers			Type	H1 Book chapter
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	125-158 T2 - Van Gogh’s Sunflowers illuminated – a
	Keywords	H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
	Abstract	This chapter provides a description of colour changes in the Amsterdam Sunflowers due to chemical alteration of pigments, with a focus on geranium lakes and chrome yellows. The brilliant and forceful colours of these and other late nineteenth-century synthetic materials offered artists such as Vincent van Gogh new means of artistic expression that exploited a range of contrasting hues and tints. However, geranium lakes have a strong tendency to fade and chrome yellows to darken under the influence of light. Van Gogh, like other artists of his day, was aware of this drawback, yet he continued to favour the use of both pigments up until his death in July 1890 due to the unparalleled effects they gave. In April 1888, Vincent wrote to his brother Theo: Van Gogh's use of unstable colours opens a series of questions regarding the extent to which colour change affects the way his paintings look today, as discussed here in relation to the Amsterdam Sunflowers. Furthermore, given the frequency with which geranium lakes and chrome yellows occur in Van Gogh's paintings of the period 1888–90 and the predominance of chrome yellows in Sunflowers, it becomes important to understand the factors that can drive these processes of deterioration in order to develop appropriate strategies for conserving the artist's works.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date	2020-11-25
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-94-6372-532-3	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:190779			Serial	7640
Permanent link to this record



	Author	Hendriks, E.; Geldof, M.; van den Berg, K.J.; Monico, L.; Miliani, C.; Moretti, P.; Iwanicka, M.; Targowski, P.; Megens, L.; de Groot, S.; van Keulen, H.; Janssens, K.; Vanmeert, F.; van der Snickt, G.
	Title	Conservation of the Amsterdam sunflowers : from past to future			Type	H1 Book chapter
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	175-205 T2 - Van Gogh’s Sunflowers illuminated – a
	Keywords	H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
	Abstract	This chapter lays out a conservation timeline, from past to future, for the Amsterdam version of Van Gogh's Sunflowers. It starts by considering the restoration history of the painting in order to assess its current physical state, and looks ahead to formulate an appropriate strategy for future conservation treatment and display. Due attention is paid to the two recorded episodes of restoration performed in 1927 and 1961 by the Dutch restorer, Jan Cornelis Traas. Based on physical and chemical investigation of Sunflowers we attempt to reconstruct what these former treatments (which are barely documented) entailed and consider the repercussions for the present condition of the painting. The former interventions by Traas also serve as a benchmark to reflect on current choices made, highlighting the extent to which ideas and methodologies have continued to evolve over the past century as conservation has moved further away from being a singularly craft-based activity to become an established historical and scientific discipline underpinned by ethical guidelines. Jan Cornelis Traas (1898–1984) As mentioned, the two main recorded interventions to the Amsterdam Sunflowers may be associated with the Dutch restorer, Jan Cornelis Traas, who treated the picture in 1927, close to the start of his career, and again in 1961, shortly before he retired. Traas was the first restorer to be appointed at the Mauritshuis in The Hague where he worked from 1931 to 1962 and treated hundreds of paintings, including iconic masterpieces such as Girl with a Pearl Earring by Johannes Vermeer. Yet despite the magnitude and importance of his restoration oeuvre, J.C. Traas (as he is usually referred to in surviving documents), has remained somewhat obscure. He is shown here in the only known surviving photograph of him at work, shortly before he retired (fig. 7.1). Unlike his illustrious contemporaries, A. Martin de Wild (1899–1969) and Helmut Ruhemann (1891–1973), for example, Traas did not publish anything, he appears to have kept no records of his work and no personal archive is known. However, the study of some newly discovered historical documents, combined with physical examination of Sunflowers and a large number of other works he treated, allows us to recover an idea of his working practices and approaches viewed within the context of his day.
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date	2020-11-25
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-94-6372-532-3	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:190780			Serial	7727
Permanent link to this record



	Author	Geldof, M.; Monico, L.; Johnson, D.H.; Miliani, C.; Romani, A.; Grazia, C.; Buti, D.; Brunetti, B.G.; Janssens, K.; Van der Snickt, G.; Vanmeert, F.
	Title	Methods and materials of the Amsterdam sunflowers			Type	H1 Book chapter
	Year	2019	Publication		Abbreviated Journal
	Volume		Issue		Pages	85-123 T2 - Van Gogh’s Sunflowers illuminated – ar
	Keywords	H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
	Abstract	This chapter explains the materials and techniques employed in the Amsterdam Sunflowers, enabling a comparison with the London version described in chapter 3. Building upon the 2016 article published in the National Gallery Technical Bulletin, it incorporates the latest findings gained by computer-assisted methods used to characterize the canvas support, as well as in-situ campaigns of non-invasive investigation together with further analysis of microscopic paint samples. The chapter sequence follows the steps in Van Gogh's working practice. Starting with the canvas, automated analysis of the weave enables the provenance of the canvas to be traced back to a particular roll of linen ordered by Van Gogh. Combining technical evidence with knowledge of historical manufacturing techniques further allows us to reconstruct the way in which Van Gogh divided his canvas roll into pieces used for Sunflowers and other paintings. We go on to consider how, with the original painting at hand, he used charcoal to transfer the motif of the London Sunflowers onto his blank canvas. Despite careful planning of the composition, an adjustment was required late in the working process, when Van Gogh added a painted wooden strip to extend the background above the flower at the top edge of the canvas. The artist's process of working up the composition in paint is described, paying special attention to his use of colour. The pigments and pigment mixtures used in the Amsterdam Sunflowers have been comprehensively mapped and are compared with the London picture, with discussion of some similarities and differences that account for the distinctive colour scheme of each painting. This understanding of colour application in the Amsterdam Sunflowers lays the foundation for subsequent chapters that will go on to consider the impact of light-induced colour changes that have taken place over time, and the related need to define appropriate lighting guidelines for the future safe preservation of this painting and others made with similar materials (chapters 5 and 7).
	Address
	Corporate Author				Thesis
	Publisher		Place of Publication		Editor
	Language		Wos		Publication Date	2020-11-25
	Series Editor		Series Title		Abbreviated Series Title
	Series Volume		Series Issue		Edition
	ISSN		ISBN	978-94-6372-532-3	Additional Links	UA library record
	Impact Factor		Times cited		Open Access
	Notes				Approved	no
	Call Number	UA @ admin @ c:irua:190781			Serial	8223
Permanent link to this record