| |
Record |
Links |
|
Author |
van der Snickt, G.; Janssens, K.; Schalm, O.; Aibéo, C.; Kloust, H.; Alfeld, M. |
|
| |
Title |
James Ensor's pigment use: artistic and material evolution studied by means of portable X-ray fluorescence spectrometry |
Type |
A1 Journal article |
| |
Year  |
2010 |
Publication |
X-ray spectrometry |
Abbreviated Journal |
X-Ray Spectrom |
|
| |
Volume |
39 |
Issue |
2 |
Pages |
103-111 |
|
| |
Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
|
| |
Abstract |
In this paper, portable X-ray fluorescence spectrometry (PXRF) was employed as a screening tool for determining and comparing the pigment use in a large series of paintings by the Belgian artist James Ensor (1860-1949). Benefits and drawbacks of PXRF as a method, and the instrument employed, are discussed from a practical, conservation and instrumental perspective. Regardless of several restrictions due to the set-up and/or the analytical method, it appeared feasible to document the evolution with time in Ensor's use of inorganic pigments and to correlate this technical evolution with stylistic developments, Nevertheless, it became clear that a full identification of all materials present can only be done by means of the analysis of (cross-sectioned) samples. |
|
| |
Address |
|
|
| |
Corporate Author |
|
Thesis |
|
|
| |
Publisher |
|
Place of Publication |
|
Editor |
|
|
| |
Language |
|
Wos |
000275959400006 |
Publication Date |
2009-12-15 |
|
| |
Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
|
| |
Series Volume |
|
Series Issue |
|
Edition |
|
|
| |
ISSN |
0049-8246 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
|
| |
Impact Factor |
1.298 |
Times cited |
25 |
Open Access |
|
|
| |
Notes |
; This research was supported by the Interuniversity Attraction Poles Programme – Belgian Science Policy (IUAP VI/16). The staff of the different museums and private institutions is acknowledged for rendering their assistance to this research, i.e. by making all paintings available for analysis and authorising the publication of the images in this article. Therefore, a word of gratitude to Paul Huvenne, Yolande Deckers, Herwig Todts, Stef Antonissen, Gwen Borms and Lizet Klaassen of the Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA), Luuk Van der Loeff of the Kroller-Muller Museum in Otterlo and Mireille Engel, Barbara De Jong of the Musea aan Zee (MuZee), Patricia Jaspers of the Dexia bank, Hildegard Van de Velde of the KBC bank and Frederik Leen of the Koninklijke Musea voor Schone Kunsten van Belgie (KMSKB). Special thanks to Xavier Tricot and the other members of the Ensor committee for their valuable feedback. ; |
Approved |
Most recent IF: 1.298; 2010 IF: 1.661 |
|
| |
Call Number |
UA @ admin @ c:irua:82324 |
Serial |
5680 |
|
| Permanent link to this record |
