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“The opportunity of 6-monoacetylmorphine to selectively detect heroin at preanodized screen printed electrodes”. Felipe Montiel N, Parrilla M, Beltrán V, Nuyts G, Van Durme F, De Wael K, Talanta , 122005 (2021). http://doi.org/10.1016/j.talanta.2020.122005
Abstract: The illicit consumption of heroin is an increasing concern in our society. For this reason, rapid analytical methods to seize heroin samples in the field are of paramount importance to hinder drug trafficking, and thus prevent the availability of heroin in the drug market. The present work reports on the enriched electrochemical fingerprint of heroin, allowing its selective detection in street samples, based on the use of electrochemical pretreated screen printed electrodes (p-SPE). The voltammetric identification is built on two oxidation peaks of both heroin and its degradation product 6-monoacetylmorphine (6-MAM), generated in alkaline conditions. Interestingly, an anodic pretreatment of the screen printed electrodes (SPE) shifts the peak potential of paracetamol (the most encountered cutting agent in heroin seizures), allowing the detection of 6-MAM peak, overlapping with the paracetamol signal in the case of untreated SPE. Subsequently, the characterization of the p-SPE with scanning electron microscopy, cyclic voltammetry, electrochemical impedance spectroscopy, Raman and Fourier transform infrared (FTIR) spectroscopy is provided to demonstrate local changes on the surface of the electrode. From an analytical perspective, p-SPE provide higher sensitivity (0.019 μA μM-1), excellent reproducibility (6-MAM, RSD = 2.85%, and heroin RSD = 0.91%, n = 5) and lower limits of detection (LOD) (5.2 μM) in comparison to untreated SPE. The proposed protocol which integrates a tailor-made script is interrogated against common cutting agents, and finally, validated with the screening of 14 street samples, also analyzed by standard methods. Besides, a comparison with portable spectroscopic techniques on the confiscated samples shows the better performance of the electrochemical strategy. Overall, this sensing approach offers promising results for the rapid on-site profiling of suspicious heroin samples, also in the presence of paracetamol.
Keywords: A1 Journal Article; Antwerp X-ray Analysis, Electrochemistry and Speciation (AXES) ;
Impact Factor: 4.162
DOI: 10.1016/j.talanta.2020.122005
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“Artificial orpiment, a new pigment in Rembrandt's palette”. van Loon A, Noble P, Krekeler A, van der Snickt G, Janssens K, Abe Y, Nakai I, Dik J, Heritage science 5, 26 (2017). http://doi.org/10.1186/S40494-017-0138-1
Abstract: This paper reports on how the application of macro X-ray fluorescence (MA-XRF) imaging, in combination with the re-examination of existing paint cross-sections, has led to the discovery of a new pigment in Rembrandt's palette: artificial orpiment. In the NWO Science4Arts 'ReVisRembrandt' project, novel chemical imaging techniques are being developed and applied to the study of Rembrandt's late paintings in order to help resolve outstanding questions and to gain a better understanding of his late enigmatic painting technique. One of the selected case studies is the Portrait of a Couple as Isaac and Rebecca, known as 'The Jewish Bride', dated c. 1665 and on view in the Rijksmuseum. During the re-installation of the Rijksmuseum in 2013, the picture was scanned using the Bruker M6 Jetstream MAXRF scanner. The resulting elemental distribution maps made it possible to distinguish many features in the painting, such as bone black remains of the original hat (P, Ca maps), and the now discolored smalt-rich background (Co, Ni, As, K maps). The arsenic (As) map also revealed areas of high-intensity in Isaac's sleeve and Rebecca's dress where it could be established that it was not related with the pigment smalt that also contains arsenic. This pointed to the presence of a yellow or orange arsenic-containing pigment, such as realgar or orpiment that is not associated with the artist's palette. Subsequent examination of existing paint cross-sections from these locations taken by Karin Groen in the 1990s identified isolated, almost perfectly round particles of arsenic sulfide. The round shape corresponds with published findings on a purified form of artificial orpiment glass obtained by dry processing, a sublimation reaction. In bright field, the particles characteristically exhibit a dark cross in the middle caused by internal light reflections. The results of additional non-invasive techniques (portable XRD and portable Raman) are discussed, as well as the implications of this finding and how it fits with Rembrandt's late experimental painting technique.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 6
DOI: 10.1186/S40494-017-0138-1
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“Characterization of the main causes of deterioration of grisaille paint layers in 19th C. stained-glass windows by J.-B. Capronnier”. Schalm O, Janssens K, Caen J, Spectrochimica acta: part B : atomic spectroscopy 58, 589 (2003). http://doi.org/10.1016/S0584-8547(02)00282-3
Abstract: Twenty-seven glass fragments containing dark coloured grisaille paint layers of different qualities were collected from ten windows of the cathedral St. Michael & St. Gudule in Brussels (Belgium). The windows were made by J.-B. Capronnier (18141891) and cover the period between 1843 and 1878. The samples were cross-sectioned and examined in an electron microscope. Grisaille paint layers are not homogeneous and therefore, it is not meaningful to characterize them in terms of their average composition. Instead, parameters such as granularity, the number of residual gas bubbles per running millimetre of paint, the type of pigments, and the thickness of the paint layer were used to characterize them. The microscopic morphology allows a classification of the grisaille paint layers in four groups, every group associated with a quality level. Moreover, the main causes of the accelerated degradation of some of these paint layers could be explained. The classification made it possible to distinguish two periods in the work of Capronnier: (1) the early period (18431848) is characterized by the presence of either single granular paint layers or of double-layered systems consisting of a granular paint layer on top of a well-melted paint layer. The granular grisaille paint layers tend to pulverize; (2) the later period (18481878) is characterized by the presence of only well-vitrified paint layers. No sign of deterioration was found on the well-vitrified paint layers.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.241
DOI: 10.1016/S0584-8547(02)00282-3
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“Identification of artificial orpiment in the interior decorations of the Japanese tower in Laeken, Brussels, Belgium”. Vermeulen M, Sanyova J, Janssens K, Heritage science 3, Unsp 9 (2015). http://doi.org/10.1186/S40494-015-0040-7
Abstract: In this paper, we used a multi-technique approach in order to identify the arsenic sulfide pigment used in the decorative panels of the Japanese tower in Laeken, Belgium. Our attention was drawn to this particular pigment because of its relatively good conservation state, despite its known tendency to fade over time when exposed to light. The pigment was used with different painting techniques, bound with oil and urushi in the lacquers and with an aqueous binder in the mat relief panels. In the latter case it is always applied as an underlayer mixed with ultramarine blue. This quite unusual pigment mixture also shows a good state of preservation. In this study, the orpiment used for the Japanese tower has been identified as an amorphous arsenic sulfide glass (AsxSx) with the aid of light microscopy, PLM, SEM-EDX and Raman microscopy. The pigment features different degrees of As4S4 monomer units in its structure, also known as realgar-like nano-phases. This most likely indicates different synthesis processes as the formation of these As4S4 monomers is dependent of the quenching temperature (Tq) to which the artificial pigment is exposed during the preparation phase.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 17
DOI: 10.1186/S40494-015-0040-7
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“Integrated X-ray fluorescence and diffuse visible-to-near-infrared reflectance scanner for standoff elemental and molecular spectroscopic imaging of paints and works on paper”. Delaney JK, Conover DM, Dooley KA, Glinsman L, Janssens K, Loew M, Heritage science 6, 31 (2018). http://doi.org/10.1186/S40494-018-0197-Y
Abstract: Prior studies have shown the improved ability to identify artists' pigments by combining results from X-ray fluorescence (XRF), which provides elemental information, with reflectance spectroscopy in the visible to near infrared (400-1000 nm) that provides information on electronic transitions. Extending the spectral range of reflectance spectroscopy into the UV, 350-400 nm, allows identification of several white pigments since their electronic transitions occur in this region (e.g., zinc white and rutile and anatase forms of titanium white). Extending the range further into the infrared, out to 2500 nm, provides information on vibrational transitions of various functional groups, such as hydroxyl, carbonate, and methyl groups. This allows better identification of mineral-based pigments and some paint binders. The combination of elemental information with electronic and vibrational transitions provides a more robust method to identify artists' materials in situ. The collection of both sets of spectral information across works of art, such as paintings and works on paper, allows generating a more complete map of artists' materials. Here, we describe a 2-D scanner that simultaneously collects XRF spectra and reflectance spectra from 350 to 2500 nm across the surfaces of works of art. The scanner consists of a stationary, single pixel XRF spectrometer and fiber optic reflectance spectrometer along with a 2-D position-controlled easel that moves the artwork in front of the two detection systems. The dual-mode scanner has been tested on a variety of works of art from illuminated manuscripts (0.1 x 0.1 m(2)) to paintings as large as 1.7 x 1.9 m(2). The scanner is described and two sets of results are presented. The first is the XRF scanning of a large warped panel painting by Andrea del Sarto titled Charity. The second is a combined XRF and reflectance scan of Georges Seurat's painting titled Haymakers at Montfermeil. The XRF was collected at 1 mm spatial sampling and the reflectance spectral data at 3 mm. Combining the results from the data sets was found to enhance the identification of pigments as well as yield distribution maps, in spite of the relatively low reflectance spatial sampling. The elemental and reflectance maps allowed the identification and mapping of lead white, cobalt blue, viridian, ochres, and likely chrome yellow. The maps also provide information on the mixing of pigments. While the reflectance image cube has 10-20x larger spatial samples than desired, the elimination of having to use two hyperspectral cameras to cover the range from 400 to 2500 nm makes for a low cost dual modality scanner.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 7
DOI: 10.1186/S40494-018-0197-Y
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“An intrusive portrait by Goya”. Bull D, Krekeler A, Alfeld M, Dik J, Janssens K, The Burlington magazine 153, 668 (2011)
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Jan Davidsz. de Heem (1606-1684): a technical examination of fruit and flower still lifes combining MA-XRF scanning, cross-section analysis and technical historical sources”. De Keyser N, van der Snickt G, Van Loon A, Legrand S, Wallert A, Janssens K, Heritage science 5, 38 (2017). http://doi.org/10.1186/S40494-017-0151-4
Abstract: This article discusses the technical examination of five flower and fruit still life paintings by the seventeenth century artist Jan Davidsz. de Heem (1606-1684). The painter is known for his meticulously composed and finely detailed still life paintings and is a master in imitating the surface textures of various fruits, flowers, and objects. Macro X-ray fluorescence (MA-XRF) scanning experiments were supplemented with a study of paint cross-sections and contemporary art technical sources with the aim of reconstructing the complex build-up of the overall lay-in of the composition and individual subjects. MA-XRF provided information on the distribution of key chemical elements present in painting materials and made it possible to recapture evidence of the different phases in the artist's working methods: from the application of the ground layers, to De Heem's characteristic oval-shaped underpaintings, and finally, the superposition of multiple paint layers in the working up of the paintings. SEM-EDX analysis of a limited number of paint cross-sections complemented the chemical images with local and layer-specific information on the microscale, providing more accuracy on the layer sequence and enabling the study of elements with a low atomic number for which the non-invasive technique is less sensitive. The results from this technical examination were in addition compared with recipes and paint instructions, to obtain a better understanding of the relation between the general practice and actual painting technique of Jan Davidsz. de Heem. Ultimately, this combined approach uncovered new information on De Heem's artistic practice and demonstrated the complementarity of the methods.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 5
DOI: 10.1186/S40494-017-0151-4
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“MA-XRF imaging on Rene Magritte's La condition humaine : insights into the artist's palette and technique and the discovery of a third quarter of La pose enchantee”. da Silva AT, Legrand S, van der Snickt G, Featherstone R, Janssens K, Bottinelli G, Heritage science 5, 37 (2017). http://doi.org/10.1186/S40494-017-0150-5
Abstract: Magritte's composition La condition humaine, 1935 was found to conceal under its paint layers an entire quarter of a lost composition by the artist, until recently only known from a small black/white catalogue illustration-La pose enchantee, 1927. This study is the latest contribution to the discovery of the artist's missing painting, now known to have been cut into four parts and re-used by Magritte as the support for new compositions. Non-destructive analytical and examination methods and specifically macroscopic X-ray fluorescence (MAXRF) scanning and conventional X-ray radiography (XRR) were the two non-destructive analytical and examination methods used to study both compositions and add to the existing knowledge on the artist's palette during both periods. The first method is capable of identifying the presence and the distribution of key chemical elements present in artists' materials. In some instances elemental mapping provided useful information on the hidden painting, but conventional X-ray radiography (XRR) enabled a better visualisation of the form and paint application of the underlying composition. Furthermore, the turnover edges of the canvas reveal after over 80 years the artist's palette directly to the viewer. Additional XRF scanning of this exposed paint has confirmed and added to the existing research published to date of this lost painting, including a proposed colour reconstruction, but at the same time highlighting the need for further analytical research involving both non-destructive point analysis and the use of paint samples.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 7
DOI: 10.1186/S40494-017-0150-5
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“A methodology for the identification of glass panes of different origin in a single stained glass window: application on two 13th century windows”. Schalm O, de Raedt I, Caen J, Janssens K, Journal of cultural heritage 11, 487 (2010). http://doi.org/10.1016/J.CULHER.2010.05.004
Abstract: The chemical composition of 11 glass panes originating from two 13th century non-figurative windows were analyzed by means of Scanning Electron MicroscopyEnergy Dispersive X-ray system (SEM-EDX). The windows were discovered in the back-wall of the triforium during the restoration of the choir of the cathedral St. Michael and St. Gudule in Brussels (Belgium). In order to determine if these windows were fabricated with glass of different origin or not, the compositional difference between the panes were compared with the variation in composition as a result of the following causes: (1) compositional fluctuation between panes cut from the same sheet of glass, (2) compositional fluctuation caused when panes are cut from different sheets that were made with the same batch, (3) compositional fluctuation caused when the glass is made from different batches at the same production center, and (4) compositional fluctuation as a result of glass produced at different fabrication centers.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.838
Times cited: 7
DOI: 10.1016/J.CULHER.2010.05.004
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“Rembrandt's An Old Man in Military Costume : combining hyperspectral and MA-XRF imaging to understand how two paintings were painted on a single panel”. MacLennan D, Trentelman K, Szafran Y, Woollett AT, Delaney JK, Janssens K, Dik J, Journal of the American Institute for Conservation 58, 54 (2019). http://doi.org/10.1080/01971360.2018.1540245
Abstract: Over the past several decades the painting An Old Man in Military Costume by Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246) has been the subject of a number of investigations carried out in order to better visualize a second painting beneath the surface figure. The underlying image – the head and shoulders of a man wearing a cloak – is oriented 180 degrees from the upper image and appears to be fairly complete. Scanning macro x-ray fluorescence (XRF) spectroscopy reveals the face is painted with lead white and a mercury-containing pigment (likely vermilion), and the cloak is painted with a copper-containing pigment. Following the revelation and digital color reconstruction of the underlying figure, a number of questions still remained. Here, through the use of infrared reflectance imaging spectroscopy (i.e., hyperspectral imaging) and macro-XRF imaging spectroscopy, together with cross-sections taken from targeted areas, the sequence of painting in both compositions was explored. Of particular interest was the discovery of evidence of multiple attempts to situate the lower figure, and the subsequent application of a blocking-out layer over the lower figure before the artist rotated the panel and executed the upper figure. In addition, examination of the placement of the two images on the panel adds to our understanding of the subtle complexities of Rembrandt's working process. RESUMEAu cours des dernieres decennies, la peinture Le vieil homme en costume militaire de Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246) a fait l'objet de nombreuses investigations menees dans le but de mieux visualiser une seconde peinture dissimulee sous la surface. L'image sous-jacente – la tete et les epaules d'un homme vetu d'une cape – est orientee a 180 degres de de l'image du vieil homme, et elle semble assez complete. La spectroscopie a macro-balayage de fluorescence X (MA-XRF) revele que le visage est peint avec du blanc de plomb et un pigment contenant du mercure (comme le vermillon), et que la cape est peinte avec un pigment a base de cuivre. Plusieurs questions restaient en suspens suite a cette decouverte et a la reconstruction numerique en couleur de l'image sous-jacente. Grace a l'emploi de techniques d'imagerie comme la spectroscopie proche infrarouge (ex., imagerie hyperspectrale) et l'imagerie MA-XRF, combinees a l'analyse de coupes stratigraphiques prelevees a des endroits cibles, on a pu explorer la sequence d'application des couches picturales de chacune des deux compositions. Une decouverte particulierement interessante est la preuve que l'artiste a fait plusieurs tentatives pour positionner la figure sous-jacente puis, a ensuite applique une couche pour la recouvrir completement avant de faire pivoter le panneau et peindre la figure du vieil homme. De plus, l'examen du positionnement des deux images sur le panneau ajoute a notre comprehension de la subtile complexite du processus de creation de Rembrandt. Traduit par Elisabeth Forest. RESUMONas ultimas decadas, a pintura Um Velho em Traje Militar, de Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246), foi objeto de uma serie de investigacoes realizadas para visualizar melhor uma segunda pintura abaixo da figura aparente. A imagem subjacente – a cabeca e os ombros de um homem usando uma capa – e orientada a 180 graus da imagem superior e parece estar bastante completa. O macro mapeamento de imagem por espectroscopia de fluorescencia de raios X (FRX) revela que a face e pintada com branco de chumbo e um pigmento contendo mercurio (provavelmente vermelhAo), e a capa e pintada com um pigmento contendo cobre. Apos a descoberta e reconstrucAo digital da cor da figura subjacente, uma serie de questoes ainda permanecem. EntAo, atraves da utilizacAo do mapeamento por imagem de espectroscopia de refletancia por infravermelhos (i.e. mapeamento hiperespectral) e macro mapeamento por imagem de FRX, juntamente com cortes estratigraficos de amostras retiradas de areas de interesse, a pintura em ambas as composicoes foi explorada. De particular interesse foi a descoberta de evidencias de multiplas tentativas de posicionar a figura subjacente, e a subsequente aplicacAo de uma camada intermediaria de separacAo sobre a figura inferior antes do artista girar o painel e executar a figura superior. Alem disso, o exame da colocacAo das duas imagens no painel aumenta nossa compreensAo das sutis complexidades do processo de trabalho de Rembrandt. Traduzido por Marcia Rozzi e Beatriz Haspo. RESUMENA lo largo de las ultimas decadas, la pintura Un anciano con traje militar de Rembrandt Harmensz van Rijn (ca. 1630-31; J. Paul Getty Museum, 78.PB.246) ha sido objeto de varias investigaciones realizadas con el fin de visualizar mejor una segunda pintura debajo de la figura de la superficie. La imagen subyacente, la cabeza y los hombros de un hombre que lleva una capa, esta orientada a 180 grados de la imagen superior y parece estar bastante completa. La espectroscopia de fluorescencia de rayos X (XRF) de barrido revela que la cara esta pintada con blanco de plomo y un pigmento que contiene mercurio (probablemente bermellon), y la capa esta pintada con un pigmento que contiene cobre. Tras la revelacion y la reconstruccion digital del color de la figura subyacente, aun quedaban algunas preguntas. Aqui, por medio del uso de la espectroscopia de imagenes de reflectancia infrarroja (es decir, imagenes hiperespectrales) e imagenes macro-XRF, junto con las secciones transversales tomadas de areas especificas, se exploro la secuencia de pintura en ambas composiciones. De particular interes fue el descubrimiento de evidencia de multiples intentos de situar la figura inferior, y la aplicacion posterior de una capa de bloqueo sobre la figura inferior antes de que el artista rotara el panel y ejecutara la figura superior. Ademas, el examen de la colocacion de las dos imagenes en el panel contribuye a nuestra comprension de las sutiles complejidades del proceso de trabajo de Rembrandt. Traduccion: Amparo Rueda.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 2
DOI: 10.1080/01971360.2018.1540245
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“Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis”. Dooley KA, Gifford EM, van Loon A, Noble P, Zeibel JG, Conover DM, Alfeld M, van der Snickt G, Legrand S, Janssens K, Dik J, Delaney JK, Heritage science 6, 46 (2018). http://doi.org/10.1186/S40494-018-0212-3
Abstract: Late paintings of Rembrandt van Rijn (1606-1669) offer intriguing problems for both art historians and conservation scientists. In the research presented here, the key question addressed is whether observed stylistic differences in paint handling can be correlated with material differences. In Saul and David, in the collection of the Royal Picture Gallery Mauritshuis in The Hague, NL, the stylistic differences between the loose brushwork of Saul's cloak and the more detailed depiction of his turban and the figure of David have been associated with at least two painting stages since the late 1960s, but the attribution of each stage has been debated in the art historical literature. Stylistic evaluation of the paint handling in the two stages, based on magnified surface examination, is further described here. One of the research goals was to determine whether the stylistic differences could be further differentiated with macroscale and microscale methods of material analysis. To address this, selected areas of the painting having pronounced stylistic differences were investigated with two macroscopic chemical imaging methods, X-ray fluorescence and reflectance imaging spectroscopies. The pigments used were identified and their spatial distribution was mapped. The mapping results show that the passages rendered in more detail and associated stylistically with the first painting stage, such as the orange-red color of David's garment or the Greek key design in Saul's turban, were painted with predominately red ochre mixed with vermilion. The regions of loose, bold brushwork, such as the orange-red slashing strokes in the interior of Saul's cloak, associated with the second painting stage, were painted with predominately red ochre without vermilion. These macroscale imaging results were confirmed and extended with scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX) analysis of three cross-sections taken from regions of stylistic differences associated with the two painting stages, including one sample each from the right and left sleeve of David, and one from the interior of Saul's cloak. SEM-EDX also identified a trace component, barium sulfate, associated with the red ochre of the second stage revisions. Combining mapping information from two spectroscopic imaging methods with localized information from microscopic samples has clearly shown that the stylistic differences observed in the paint handling are affiliated with differences in the chemical composition of the paints.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 3
DOI: 10.1186/S40494-018-0212-3
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“The hidden youth of Dirck Jacobsz leeuw : a portrait by Govert Flinck revealed”. Van Hommes ME, Lambour R, Du Mortier BM, De Winkel M, Tauber G, Alfeld M, Janssens K, Dik J, The Rijksmuseum bulletin 64, 4 (2016)
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“The rediscovered portrait of Prospero Farinacci by Caravaggio”. Cardinali M, De Ruggieri MB, Leone G, Prohaska W, Alfeld M, Janssens K, Artibus et historiae : an art anthology , 249 (2016)
Abstract: Caravaggio's early production as a portrait painter is still the subject of research and a fount of enigmas. Despite the numerous citations in documents, only rarely have these been linked unequivocally to paintings known to date. This is also the case with the `portrait of Farinaccio criminalist painted on a head-size canvas believed to be by Michelangelo from Caravaggio', that was listed in the 1638 inventory of the Marquis Giustiniani and with `the speaker wearing a robe, painted by Caravaggio' on a head-size canvas, owned in 1652 by Caterina Campani, Onorio Longhi's wife. The present multidisciplinary research examines the rediscovery of the portrait of Prospero Farinacci by Caravaggio. The painting, undisclosed until now, hides an underlying female portrait. The authors investigate both compositions from a technical, iconographical and critical point of view, supporting Caravaggio's attribution. The technical researches allow cross-validation in the brushwork and materials of the picture, compared to Caravaggio's early painting technique and style. The portrait of Maffeo Barberini, recently re-ascribed to Caravaggio, shows a significant similarity, while the underlying woman of the retrieved painting closely resembles the gipsy of the Louvre Fortune Teller. In addition, a newly introduced and advanced imaging technique (MaXRF) has detected on the male portrait the feature of the lawyer's robe, which supports the identification with Prospero Farinacci. The intriguing topic of physiognomic accuracy versus stylizing tendency in Caravaggio's portraiture is considered with the aid of Giulio Mancini's observations. Besides, the possible interpretation of the underlying figure as a religious subject sheds a light on the obscure activity of the young Caravaggio in Lorenzo Carli's workshop, recently brought to scholars' attention by new documents and hypotheses.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Van Gogh's Irises and Roses : the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments”. Centeno SA, Hale C, Caro F, Cesaratto A, Shibayama N, Delaney J, Dooley K, van der Snickt G, Janssens K, Stein SA, Heritage science 5, 18 (2017). http://doi.org/10.1186/S40494-017-0131-8
Abstract: Vincent van Gogh's still lifes Irises and Roses were investigated to shed light onto the degree to which the paintings had changed, both individually and in relation to each other since they were painted, particularly in regard to the fading of the red lakes. Non-invasive techniques, including macroscopic X-ray fluorescence mapping, reflectance imaging spectroscopy, and X-radiography, were combined with microanalytical techniques in a select number of samples. The in-depth microchemical analysis was necessary to overcome the complications that arise when evaluating by non-invasive methods alone the compositions of passages with complex layering and mixing of paints. The results obtained by these two approaches were complemented by color measurements performed on paint cross-sections and on protected edges, and with historical information provided by the artist's own descriptions, early reviews and reproductions, and the data was used to carry out digital color simulations that provided, to a certain extent, a visualization of how the paintings may have originally appeared.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 21
DOI: 10.1186/S40494-017-0131-8
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“Beauty is skin deep : the skin tones of Vermeer's Girl with a Pearl Earring”. van Loon A, Vandivere A, Delaney JK, Dooley KA, De Meyer S, Vanmeert F, Gonzalez V, Janssens K, Leonhardt E, Haswell R, de Groot S, D'Imporzano P, Davies GR, Heritage science 7, 102 (2019). http://doi.org/10.1186/S40494-019-0344-0
Abstract: The soft modelling of the skin tones in Vermeer's Girl with a Pearl Earring (Mauritshuis) has been remarked upon by art historians, and is their main argument to date this painting to c. 1665. This paper describes the materials and techniques Vermeer used to accomplish the smooth flesh tones and facial features of the Girl, which were investigated as part of the 2018 Girl in the Spotlight research project. It combines macroscopic X-ray fluorescence imaging (MA-XRF), reflectance imaging spectroscopy (RIS), and 3D digital microscopy. Vermeer built up the face, beginning with distinct areas of light and dark. He then smoothly blended the final layers to create almost seamless transitions. The combination of advanced imaging techniques highlighted that Vermeer built the soft contour around her face by leaving a 'gap' between the background and the skin. It also revealed details that were otherwise not visible with the naked eye, such as the eyelashes. Macroscopic imaging was complemented by the study of paint cross-sections using: light microscopy, SEM-EDX, FIB-STEM, synchrotron radiation mu-XRPD and FTIR-ATR. Vermeer intentionally used different qualities or grades of lead white in the flesh paints, showing different hydrocerussite/cerussite ratios and particle sizes. Lead isotope analysis showed that the geographic source of lead, from which the different types of lead white were manufactured, was the same: the region of Peak District of Derbyshire, UK. Finally, cross-section analysis identified the formation of new lead species in the paints: lead soaps and palmierite (K2Pb(SO4)(2)), associated with the red lake.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1186/S40494-019-0344-0
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“Formation of zinc oxalate from zinc white in various oil binding media: the influence of atmospheric carbon dioxide by reaction with 13CO2”. Simonsen KP, Poulsen JN, Vanmeert F, Ryhl-Svendsen M, Bendix J, Sanyova J, Janssens K, Mederos-Henry F, Heritage science 8, 126 (2020). http://doi.org/10.1186/S40494-020-00467-Z
Abstract: The formation of metal oxalates in paintings has recently gained a great deal of interest within the field of heritage science as several types of oxalate compounds have been identified in oil paintings. The present work investigates the formation of metal oxalates in linseed oil in the presence of the artists' pigments zinc white, calcite, lead white, zinc yellow, chrome yellow, cadmium yellow, cobalt violet, and verdigris. The oil paint films were artificially photo-aged by exposure to UVA light at low and high relative humidity, and afterwards analysed by attenuated total reflectance-Fourier transform infrared spectroscopy (ATR-FTIR). The results showed that, compared to the other pigments investigated, zinc white is especially prone to metal oxalate formation and that high humidity is a crucial factor in this process. Consequently, the reactivity and photo-aging of ZnO in various oil binding media was investigated further under simulated solar radiation and at high relative humidity levels. ATR-FTIR showed that zinc oxalate is formed in all oil binding media while X-ray powder diffraction (PXRD) revealed it was mainly present in an amorphous state. To examine whether atmospheric CO2(g) has any influence on the formation of zinc oxalate, experiments with isotopically enriched (CO2(g))-C-13 were performed. Based on ATR-FTIR measurements, neither (ZnC2O4)-C-13 nor (ZnCO3)-C-13 were formed which suggests that the carbon source for the oxalate formation is most likely the paint itself (and its oil component) and not the surrounding atmosphere.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 2.5
DOI: 10.1186/S40494-020-00467-Z
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“Jackson Pollock's Number 1A, 1948 : a non-invasive study using macro-x-ray fluorescence mapping (MA-XRF) and multivariate curve resolution-alternating least squares (MCR-ALS) analysis”. Martins A, Coddington J, van der Snickt G, van Driel B, McGlinchey C, Dahlberg D, Janssens K, Dik J, Heritage science 4, 33 (2016). http://doi.org/10.1186/S40494-016-0105-2
Abstract: Jackson Pollock's Number 1A, 1948 painting was investigated using in situ scanning macro-x-ray fluorescence mapping (MA-XRF) to help characterize the artist's materials and his creative process. A multivariate curve resolution-alternating least squares (MCR-ALS) approach was used to examine the hyperspectral data and obtain distribution maps and signature spectra for the paints he used. The composition of the paints was elucidated based on the chemical elements identified in the signature spectra and a tentative list of pigments, fillers and other additives is proposed for eleven different paints and for the canvas. The paint distribution maps were used to virtually reconstruct the artist process and document the sequence and manner in which Pollock applied the different paints, using deliberate and specific gestures.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1186/S40494-016-0105-2
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“Nanoscale analysis of historical paintings by means of O‐PTIR spectroscopy : the identification of the organic particles in L’Arlésienne (portrait of Madame Ginoux) by Van Gogh”. Beltran V, Marchetti A, Nuyts G, Leeuwestein M, Sandt C, Borondics F, De Wael K, Angewandte Chemie-International Edition 60, 22753 (2021). http://doi.org/10.1002/ANIE.202106058
Abstract: Optical-photothermal infrared (O-PTIR) spectroscopy is a recently developed technique that provides spectra comparable to traditional transmission FTIR spectroscopy with nanometric spatial resolution. Hence, O-PTIR is a promising candidate for the analysis of historical paintings, as well as other cultural heritage objects, but its potential has not yet been evaluated.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 11.994
DOI: 10.1002/ANIE.202106058
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“Supplementing the eye : the technical analysis of Frans Hals's paintings –, ii”. Tummers A, Wallert A, De Keyser N, The Burlington magazine 161, 996 (2019)
Abstract: The painting 'Two fisherboys' has long caused confusion among experts. A close comparison of the painting with a forgery by Han van Meegeren and Frans Hals's `Fisherboy' solves the conundrum and provides valuable insights into the merits and drawbacks of modern analytical techniques.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“The patron of Hieronymus Bosch's 'Last Judgment' triptych in Vienna”. Koldeweij J, Hoogstede L, Ilsink M, Janssens K, De Keyser N, Gotink RK, Legrand S, Nauhaus JM, van der Snickt G, Spronk R, The Burlington magazine 160, 106 (2018)
Abstract: A technical examination of the Last Judgment triptych by Hieronymus Bosch in the Paintings Gallery of the Academy of Fine Arts, Vienna, has revealed a painted escutcheon with the coat of arms of the Burgundian court official Hippolyte de Berthoz underneath the current surface of the right outer wing. This allows him to be firmly identified as the painting's patron.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius”. Simoen J, De Meyer S, Vanmeert F, De Keyser N, Avranovich E, van der Snickt G, Van Loon A, Keune K, Janssens K, Heritage science 7, 83 (2019). http://doi.org/10.1186/S40494-019-0324-4
Abstract: The spontaneous chemical alteration of artists' pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As2S3) or realgar (alpha-As4S4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (mu-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO4), mimetite (Pb-5(AsO4)(3)Cl), palmierite (K2Pb(SO4)(2)) and syngenite (K2Ca(SO4)(2)center dot H2O) have formed. Closer inspection of the cross-sectioned paint layer stack with mu-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 2
DOI: 10.1186/S40494-019-0324-4
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“Imaging secondary reaction products at the surface of Vermeer's Girl with the Pearl Earring by means of macroscopic X-ray powder diffraction scanning”. De Meyer S, Vanmeert F, Vertongen R, van Loon A, Gonzalez V, van der Snickt G, Vandivere A, Janssens K, Heritage science 7, 67 (2019). http://doi.org/10.1186/S40494-019-0309-3
Abstract: The use of non-invasive macroscopic imaging techniques is becoming more prevalent in the field of cultural heritage, especially to avoid invasive procedures that damage valuable artworks. For this purpose, an X-ray powder diffraction scanner (MA-XRPD) capable of visualising crystalline compounds in a highly specific manner was recently developed. Many inorganic pigments present in paintings fall into this category of materials. In this study, the 17th century oil painting Girl with a Pearl Earring (c. 1665) by Johannes Vermeer was analysed with a combination of transmission and reflection mode MA-XRPD. By employing this scanner in reflection mode, the relative sensitivity for compounds that are present at the paint surface could be increased, establishing it as a highly relevant technique for investigating the degradation processes that are ongoing at paint surfaces. Many of the original pigments employed by Vermeer could be identified, along with four secondary alteration products: gypsum (CaSO4 center dot 2H(2)O), anglesite (PbSO4), palmierite (K2Pb(SO4)(2)) and weddellite (CaC2O4 center dot 2H(2)O). The formation of gypsum was linked to the presence of chalk in the upper glaze layer while the formation of palmierite and weddellite is driven by the presence of lake pigments (and their substrates). In this manner, MA-XRPD can also be used to pinpoint locations relevant for sampling and synchrotron mu-XRPD analysis, which provides information on the microscopic make-up of the paint. A paint cross-section taken from an area rich in palmierite was analysed with synchrotron mu-XRPD, which confirmed the presence of this secondary compound at the interface of the upper paint layer with the ground layer as well as the presence of anglesite in the ground layer. The capacity of MA-XRPD to identify and chart secondary alteration products in a non-invasive manner has only very recently been demonstrated and makes it a highly relevant technique for the assessment of the chemical condition of works of art.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 5
DOI: 10.1186/S40494-019-0309-3
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“The young Van Dyck's fingerprint : a technical approach to assess the authenticity of a disputed painting”. Harth A, van der Snickt G, Schalm O, Janssens K, Blanckaert G, Heritage science 5, 22 (2017). http://doi.org/10.1186/S40494-017-0136-3
Abstract: The painting Saint Jerome, part of the collection of the Maagdenhuis Museum (Antwerp, Belgium), is attributed to the young Anthony van Dyck (1613-1621) with reservations. The painting displays remarkable compositional and iconographic similarities with two early Van Dyck works (1618-1620) now in Museum Boijmans van Beuningen (Rotterdam) and Nationalmuseum (Stockholm). Despite these similarities, previous art historical research did not result in a clear attribution to this master. In this study, the works authenticity as a young Van Dyck painting was assessed from a technical perspective by employing a twofold approach. First, technical information on Van Dycks materials and techniques, here identified as his fingerprint, were defined based on a literature review. Second, the materials and techniques of the questioned Saint Jerome painting were characterized by using complementary imaging techniques: infrared reflectography, X-ray radiography and macro X-ray fluorescence scanning. The insights from this non-invasive research were supplemented with analysis of a limited number of cross-sections by means of field emission scanning electron microscopy coupled with energy dispersive X-ray spectroscopy. The results demonstrated that the questioned paintings materials and techniques deviate from Van Dycks fingerprint, thus making the authorship of this master very unlikely.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 1
DOI: 10.1186/S40494-017-0136-3
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“Characterization of polyvinyl alcohol-borax/agarose (PVA-B/AG) double network hydrogel utilized for the cleaning of works of art”. Al-Emam E, Soenen H, Caen J, Janssens K, Heritage science 8, 106 (2020). http://doi.org/10.1186/S40494-020-00447-3
Abstract: Since cleaning of artworks may cause undesirable physicochemical alterations and is a nonreversible procedure, it is mandatory to adopt the proper cleaning procedure. Such a procedure should remove undesired materials whilst preserving the original surface. In this regard, numerous gels have been developed and exploited for the cleaning of various artwork surfaces. Lately, agarose (AG) and polyvinyl alcohol-borax (PVA-B) hydrogels have been widely employed as cleaning tools by conservators. Both hydrogels show some limitations in specific cleaning practices. In this work, we investigated the influence of including increased levels of agarose into PVA-B systems. For this reason, we performed a detailed characterization on the double network (DN) hydrogel including the chemical structure, the liquid phase retention, the rheological behavior, and the self-healing behavior of various PVA-B/AG double network hydrogels. These new hydrogels revealed better properties than PVA-B hydrogels and obviated their limitations. The inclusion of AG into PVA-B systems enhanced the liquid retention capacity, shape-stability, and mechanical strength of the blend. Furthermore, AG minimized the expelling/syneresis issue that occurs when loading PVA-B systems with low polarity solvents or chelating agents. The resultant double network hydrogel exhibits relevant self-healing properties. The PVA-B/AG double network is a new and useful cleaning tool that can be added to the conservators' tool-kit. It is ideal for cleaning procedures dealing with porous and complex structured surfaces, vertical surfaces and for long time applications.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Impact Factor: 2.5
Times cited: 1
DOI: 10.1186/S40494-020-00447-3
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“Soot removal from ancient Egyptian complex painted surfaces using a double network gel : empirical tests on the ceiling of the sanctuary of Osiris in the temple of Seti I-Abydos”. Al-Emam E, Motawea AG, Caen J, Janssens K, Heritage science 9, 1 (2021). http://doi.org/10.1186/S40494-020-00473-1
Abstract: In this study, we evaluated the ease of removal of soot layers from ancient wall paintings by employing double network gels as a controllable and safe cleaning method. The ceiling of the temple of Seti I (Abydos, Egypt) is covered with thick layers of soot; this is especially the case in the sanctuary of Osiris. These layers may have been accumulated during the occupation of the temple by Christians, fleeing the Romans in the first centuries A.D. Soot particulates are one of the most common deposits to be removed during conservation-restoration activities of ancient Egyptian wall paintings. They usually mask the painted reliefs and reduce the permeability of the painted surface. A Polyvinyl alcohol-borax/agarose (PVA-B/AG) double network gel was selected for this task since its properties were expected to be compatible with the cleaning treatment requirements. The gel is characterized by its flexibility, permitting to take the shape of the reliefs, while also having self-healing properties, featuring shape stability and an appropriate capacity to retain liquid. The gel was loaded with several cleaning reagents that proved to be effective for soot removal. Soot removal tests were conducted with these gel composites. The cleaned surfaces were evaluated with the naked eye, a digital microscope, and color measurements in order to select the best gel composite. The gel composite, loaded with a solution of 5% ammonia, 0.3% ammonium carbonate, and 0.3% EDTA yielded the most satisfactory results and allowed to safely remove a crust of thick soot layers from the surface. Thus, during the final phase of the study, it was used successfully to clean a larger area of the ceiling.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1186/S40494-020-00473-1
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“The role of smalt in complex pigment mixtures in Rembrandt'sHomer1663: combining MA-XRF imaging, microanalysis, paint reconstructions and OCT”. van Loon A, Noble P, de Man D, Alfeld M, Callewaert T, van der Snickt G, Janssens K, Dik J, Heritage science 8, 90 (2020). http://doi.org/10.1186/S40494-020-00429-5
Abstract: As part of the NWO Science4ArtsREVISRembrandtproject (2012-2018), novel chemical imaging techniques were developed and applied to the study of Rembrandt's late experimental painting technique (1651-1669). One of the unique features in his late paintings is his abundant use of smalt: a blue cobalt glass pigment that he often combined with organic lake pigments, earth pigments and blacks. Since most of these smalt-containing paints have discolored over time, we wanted to find out more about how these paintings may have originally looked, and what the role of smalt was in his paint. This paper reports on the use of smalt in complex pigment mixtures in Rembrandt'sHomer(1663), Mauritshuis, The Hague. Macroscopic X-ray fluorescence imaging (MA-XRF) assisted by computational analysis, in combination with SEM-EDX analysis of paint cross-sections, provides new information about the distribution and composition of the smalt paints in the painting. Paint reconstructions were carried out to investigate the effect of different percentages of smalt on the overall color, the drying properties, translucency and texture of the paint. Results show that the influence of (the originally blue) smalt on the intended color of the paint of theHomeris minimal. However, in mixtures with high percentages of smalt, or when combined with more transparent pigments, it was concluded that the smalt did produce a cooler and darker paint. It was also found that the admixture of opaque pigments reduced the translucent character of the smalt. The drying tests show that the paints with (cobalt-containing) smalt dried five times faster compared to those with glass (without cobalt). Most significantly, the texture of the paint was strongly influenced by adding smalt, creating a more irregular surface topography with clearly pronounced brushstrokes. Optical coherence tomography (OCT) was used as an additional tool to reveal differences in translucency and texture between the different paint reconstructions. In conclusion, this study confirmed earlier assumptions that Rembrandt used substantial amounts of smalt in his late paintings, not for its blue color, but to give volume and texture to his paints, to deepen their colors and to make them dry faster.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Impact Factor: 2.5
DOI: 10.1186/S40494-020-00429-5
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“Removal of a past varnish treatment from a 19th-century Belgian wall painting by means of a solvent-loaded double network hydrogel”. Al-Emam E, Beltran V, De Meyer S, Nuyts G, Wetemans V, De Wael K, Caen J, Janssens K, Polymers 13, 2651 (2021). http://doi.org/10.3390/POLYM13162651
Abstract: Polymeric materials have been used by painting conservator-restorers as consolidants and/or varnishes for wall paintings. The application of these materials is carried out when confronting loose paint layers or as a protective coating. However, these materials deteriorate and cause physiochemical alterations to the treated surface. In the past, the monumental neo-gothic wall painting 'The Last Judgment' in the chapel of Sint-Jan Berchmanscollege in Antwerp, Belgium was treated with a synthetic polymeric material. This varnish deteriorated significantly and turned brown, obscuring the paint layers. Given also that the varnish was applied to some parts of the wall painting and did not cover the entire surface, it was necessary to remove it in order to restore the original appearance of the wall painting. Previous attempts carried out by conservator-restorers made use of traditional cleaning methods, which led to damage of the fragile paint layers. Therefore, gel cleaning was proposed as a less invasive and more controllable method for gently softening and removing the varnish. The work started by identifying the paint stratigraphy and the deteriorated varnish via optical microscopy (OM), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDX), X-ray diffraction (XRD), and Fourier-transform infrared (FTIR) spectroscopy. A polyvinyl alcohol-borax/agarose (PVA-B/AG) hydrogel loaded with a number of solvents/solvent mixtures was employed in a series of tests to select the most suitable hydrogel composite. By means of the hydrogel composite loaded with 10% propylene carbonate, it was possible to safely remove the brown varnish layer. The results were verified by visual examinations (under visible light 'VIS' and ultraviolet light 'UV') as well as OM and FTIR spectroscopy.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES); Antwerp Electrochemical and Analytical Sciences Lab (A-Sense Lab); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 3.364
DOI: 10.3390/POLYM13162651
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“The colour of silver stained glass : analytical investigations carried out with XRF, SEM/EDX, TEM and IBA”. Jembrih-Simbürger D, Neelmeijer C, Schalm O, Fredrickx P, Schreiner M, De Vis K, Mäder M, Schryvers D, Caen J, Journal of analytical atomic spectrometry 17, 321 (2002). http://doi.org/10.1039/b111024c
Abstract: Glass treated on its surface with silver compounds and an aluminosilicate, such as ochre or clay, at higher temperatures (between 550 and 650 °C) accepts a wide variety of a yellow colour. It is the aim of this study to investigate the parameters of the manufacturing process affecting the final colour of silver stained glass and to correlate them with the final colour and colour intensity. Therefore, defined mixtures of ochre and a silver compound (AgCl, AgNO3, Ag2SO4, Ag3PO4, Ag2O) were prepared and applied on soda-lime glass. The firing process was modified within the range from 563 to 630 °C and glass samples were analysed after treatment with energy dispersive X-ray fluorescence analysis (EDXRF), scanning electron microscopy (SEM/EDX), transmission electron microscopy (TEM), as well as ion beam analysis (IBA) with an external beam. Within the scope of IBA simultaneous measurements using particle-induced X-ray emission (PIXE), particle-induced gamma-ray emission (PIGE), and Rutherford backscattering spectrometry (RBS) were carried out in order to obtain the thickness of the Ag-rich surface layer and the depth distribution of Ag. By means of TEM the microstructure of the silver particles was visualised. XRF results show that the lowest amount of Ag could be detected on glass samples treated with silver stain mixtures containing AgCl and Ag2O. A low kiln temperature (e.g. 563 °C) results in a higher silver concentration at the surface and lower penetration depths. Furthermore, the results obtained with SEM/EDX at cross-sections of the glass samples could be confirmed by PIXE, PIGE, RBS, and TEM.
Keywords: A1 Journal article; Art; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.379
Times cited: 42
DOI: 10.1039/b111024c
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“All crystal clear : 18th-century glass à, la façon de Bohème from the cistercian nunnery of Clairefontaine, Belgium”. Herremans D, Cagno S, Vincke A, Janssens K, De Clercq W, Journal of glass studies 55, 137 (2013)
Abstract: Excavations at the Cistercian nunnery of Clairefontaine, located near Arlon in the south of Belgium, revealed an assemblage of 18th-century colorless glass. The morphology of the vessels and the engraved decoration suggest a central European origin or, at least, stylistic inspiration. The composition of the glass points to a recipe combining silica, lime, and potash: a colorless potash glass a la facon de Boheme. This article considers the technology, morphology, and origin of the vessels. The art-historical analysis is supported by chemical research (scanning electron microscopy energy-dispersive X-ray spectroscopy [SEM-EDX]). The finds are also discussed in light of the emerging northwestern European glass industry, changing consumer practices during the 18th century, and their meaning for the inhabitants of the abbey.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Lead soaps in paintings : friends or foes?”.Cotte M, Checroun E, De Nolf W, Taniguchi Y, De Viguerie L, Burghammer M, Walter P, Rivard C, Salome M, Janssens K, Susini J, Studies in conservation 62, 2 (2017). http://doi.org/10.1080/00393630.2016.1232529
Abstract: The origin(s) and role(s) of metal soaps in paints are a worldwide concern today. These hybrid compounds, containing both fatty acid chains and metals associated with a carboxylate function, are increasingly identified in paints. As reviewed in the first part of this work, the presence of metal soaps in paints is differently interpreted in scientific publications: metal soaps are sometimes considered to play a positive role as anchor points, during paint drying processes; they can also be considered as responsible for many degradation processes (protrusions, efflorescences, darkening, etc.). Their origins are also interpreted in various ways. In some paintings (in particular from the twentieth century), they have sometimes introduced on purpose, as additives, to modify the physical properties of the painting materials. In older paintings, metal soaps are usually thought to result from an uncontrolled reaction of oil with lead-based pigments, in particular lead white, red lead, and lead tin yellow. In the second part of this work, the review of historical recipes of lead-based paint shows an important number of recipes based on controlled mixing of oil with lead driers. In the third part, the experimental reproduction of such traditional recipes using walnut oil and litharge (PbO) shows that lead soaps can be formed, both in about one hour at approximate to 100 degrees C, or in about one month at room temperature. It shows as well that after a few years, litharge is no longer detected in the paint medium, while different lead carbonates are. Finally, the micro-infrared spectroscopy and micro-X-ray diffraction re-analysis of protrusions from a nine-year model painting shows together with lead soaps, the presence of Pb-5(CO3)(3)(OH)(2)O ('synthetic plumbonacrite'), an unusual phase recently observed in a protrusion from a painting by Vincent Van Gogh. This work highlights (i) the multiple origins and roles of metal soaps in paints and (ii) the importance of combining the analysis of fragments from historical paintings with the analysis and reproduction of historical recipes. In particular, we show that the components detected today in historical paintings may severely differ from those originally used or prepared by the painter, complicating the assessment of the painter's intentions. More than the presence of metal soaps, the key questions to be tackled should be about their origins and (re)mobilization.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 0.578
Times cited: 26
DOI: 10.1080/00393630.2016.1232529
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