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“Application of neural networks in image analysis: the classification of geometrical shapes”. Geuens I, Nys B, Gijbels R, Jacob W, CC-AI: the journal for the integrated study of artificial intelligence, cognitive science and applied epistemology 10, 61 (1993)
Keywords: A3 Journal article; Plasma Lab for Applications in Sustainability and Medicine – Antwerp (PLASMANT)
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“Corrélations chimiques-géothermométriques des paramètres microchimiques des hydrothermes profonds”. Pentcheva E, Van 't dack L, Veldeman E, Gijbels R, Comptes rendus de l'Académie bulgare des sciences 49, 61 (1996)
Keywords: A3 Journal article; Plasma Lab for Applications in Sustainability and Medicine – Antwerp (PLASMANT)
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“Crystallography of fullerites and related graphene textures”. van Landuyt J, Van Tendeloo G, Amelinckx S, Zhang XF, Zhang XB, Luyten W, Materials science forum 150/151, 53 (1994)
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT)
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“Defect structure of Hg-based ceramic superconductors (invited)”. Van Tendeloo G, Hervieu M, Chaillout C, Sciences , 949 (1994)
Keywords: P1 Proceeding; Electron microscopy for materials research (EMAT)
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“Direct observation of laser-induced crystallization of a-C : H films”. Nistor LC, van Landuyt J, Ralchenko VG, Kononenko TV, Obraztsova ED, Strelnitsky VE, Applied physics A : materials science &, processing 58, 137 (1994). http://doi.org/10.1007/BF00332170
Abstract: The post-growth modification of diamond-like amorphous hydrogenated carbon a-C:H films by laser treatment has been studied by transmission electron microscopy and Raman spectroscopy. a-C:H films grown on Si substrates by benzene decomposition in a rf glow discharge were irradiated with 15 ns pulses of a KrF-excimer laser with fluences in the ran e of E = 50-700 mJ/cm(2). At fluences below 100 mJ/cm(2) an increase in the number of graphitic clusters and in their ordering was evidenced from Raman spectra, while the film structure remained amorphous according to electron microscopy and electron diffraction observations. At higher fluences the appearance of diamond particles of 2-7 nm size, embedded into the lower crystallized graphitic matrix, was observed and simultaneously a progressive growth of graphite nanocrystals with dimensions from 2 nm to 4 nm was deduced from Raman measurements. The maximum thickness of the crystallized surface layer (approximate to 400 nm) and the degree of laser annealing are limited by the film ablation which starts at E > 250 mJ/cm(2). The laser-treated areas lose their chemical inertness. In particular, chemical etching in chromium acid becomes possible, which may be used for patterning the highly inert carbon films.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT)
Times cited: 73
DOI: 10.1007/BF00332170
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“Electron-microscopy and the structural studies of superconducting materials and fullerites”. Van Tendeloo G, Amelinckx S, NATO Advanced Study Institutes series: series E : applied sciences
T2 –, NATO Advanced Study Institute on Materials and crystallographic Aspects, of HT(c)-Superconductivity, May 17-30, 1993, Erice, Italy , 521 (1994)
Keywords: P1 Proceeding; Electron microscopy for materials research (EMAT)
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“Formation of diamond nanocrystals in laser-irradiated amorphous carbon films”. Nistor LC, van Landuyt J, Ralchenko VG, Kononenko TV, Obraztsova ED, Strelnitsky VE, International Conference on the New Diamond Science and Technology 4, 25 (1994)
Keywords: P3 Proceeding; Electron microscopy for materials research (EMAT)
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“HREM study of Rb6C60 and helical shaped carbon nanotubules”. Bernaerts D, Zhang X, Zhang X, Van Tendeloo G, Vanlanduyt J, Amelinckx S, Sciences , 305 (1994)
Keywords: P1 Proceeding; Electron microscopy for materials research (EMAT)
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“Infrared spectroscopy of subbands, minibands, and donors in GaAs/AlGaAs superlatices”. Helm M, Peeters FM, DeRosa F, Colas E, Harbison JP, Florez LT, Surface science 263, 518 (1992)
Keywords: A3 Journal article; Condensed Matter Theory (CMT)
Times cited: 5
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“Laser induced phase transition in iron thin films”. Teodorescu VS, Mihailescu IN, Dinescu M, Chitica N, Nistor LC, van Landuyt J, Barborica A, Journal de physique: 3: applied physics, materials science, fluids, plasma and instrumentation 4, 127 (1994). http://doi.org/10.1051/jp4:1994427
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT)
Times cited: 2
DOI: 10.1051/jp4:1994427
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“Mécanismes de la non-stoechiométrie dans les nouveaux supraconducteurs à, haute Tc”. Hervieu M, Michel C, Martin C, Huvé, M, Van Tendeloo G, Maignan A, Pelloquin D, Goutenoire F, Raveau B, Journal de physique: 3: applied physics, materials science, fluids, plasma and instrumentation 4, 2057 (1994)
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT)
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“Nucleation and growth of Ni5Al3 in austenite and martensite matrices”. Schryvers D, Ma Y, Toth L, Tanner LE, Electron Microscopy 1994, Vols 2a And 2b: Applications In Materials Sciences , 509 (1994)
Keywords: P1 Proceeding; Electron microscopy for materials research (EMAT)
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“Ordering and defects in BanTaxTiyO3n ternary oxides”. Nistor L, Van Tendeloo G, Amelinckx S, Shpanchenko RV, van Landuyt J, Electron Microscopy 1994, Vols 2a And 2b: Applications In Materials Sciences , 869 (1994)
Keywords: P1 Proceeding; Electron microscopy for materials research (EMAT)
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“Point defect reactions in silicon studies in situ by high flux electron irradiation in high voltage transmission electron microscope”. Vanhellemont J, Romano-Rodriguez A, Fedina L, van Landuyt J, Aseev A, Materials science and technology 11, 1194 (1995)
Keywords: A3 Journal article; Electron microscopy for materials research (EMAT)
Times cited: 7
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“Sur les processus, controlant le caractère hydrochimique des eaux thermales profondes (Bulgarie Méridionale)”. Pentcheva E, Veldeman E, Van 't dack L, Gijbels R, Comptes rendus de l'Académie bulgare des sciences 44, 51 (1991)
Keywords: A3 Journal article; Plasma Lab for Applications in Sustainability and Medicine – Antwerp (PLASMANT)
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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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“Assessing the origin and fate of CR, Ni, Cu, Zn, Ph, and V in industrial polluted soil by combined microspectroscopic techniques and bulk extraction methods”. Terzano R, Spagnuolo M, Vekemans B, de Nolf W, Janssens K, Falkenberg G, Ruggiero P, Environmental science &, technology 41, 6762 (2007). http://doi.org/10.1021/ES070260H
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 61
DOI: 10.1021/ES070260H
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“Atmospheric composition and micro-climate in the Alhambra monument, Granada (Spain), in the context of preventive conservation”. Horemans B, Schalm O, De Wael K, Cardell C, Van Grieken R, IOP conference series : materials science and engineering 37, 012002 (2012). http://doi.org/10.1088/1757-899X/37/1/012002
Abstract: The world famous Alhambra monument in Granada, Southern Spain, listed as UNESCO world cultural heritage since 1984, represents probably the most beautiful example of Islamic art and architecture from the Middle Ages in Europe. It is visited by ca. 2 million people annually. Granada is situated in a natural basin, surrounded by mountains with altitudes up to 3500 m. Due to this topography and the prevailing low wind speeds, pollution-derived and especially traffic-derived particulate matter often accumulates in the urban air. In order to evaluate the potential conservation risks from the surrounding air, the atmospheric composition in the Alhambra monument was evaluated. Indoor temperature and relative humidity fluctuations were evaluated for their potential degenerative effects. Furthermore, the atmospheric composition in the Alhambra was analyzed in terms of inorganic gases (NO2, SO2, O3, and NH3) and black carbon. It was found that the open architecture protected the indoor environments from developing a potentially harmful microclimate, such as the build-up of humidity resulting from the huge number of daily tourists. On the downside, the strong ventilation made the indoor air hardly different from outdoor air, as characterized by strong diurnal temperature and relative humidity gradients and high traffic-derived pollutant levels.
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 1
DOI: 10.1088/1757-899X/37/1/012002
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“Characterization of 18th century Portuguese glass from Real Fábrica de Vidros de Coina”. Lopes F, Lima A, Pires de Matos A, Custódio J, Cagno S, Schalm O, Janssens K, Journal of Archaeological Science: Reports 14, 137 (2017). http://doi.org/10.1016/J.JASREP.2017.05.020
Abstract: This work reports the first systematic chemical characterization of Portuguese 18th century glassware. 28 selected glass fragments, recovered from an archaeological excavation carried out in the site where King D. João V of Portugal established an important glass manufacture, Real Fábrica de Vidros de Coina (Coina Royal Glass Factory), were studied. This factory operated from 1719 until 1747, the year in which the factory was transferred to Marinha Grande. The fragments were analysed by micro-energy dispersive X-ray fluorescence (micro-EDXRF), using a portable spectrometer ArtTAX, and scanning electron microscopy (SEM-EDX). The analytical data showed that a large variety of glass types was manufactured in that factory, namely soda-lime glass, mixed-alkali glass, high lime-low alkali glass, potash glass and lead glass. In general, the composition of the glass varies according to the function of the objects. It was demonstrated that micro-EDXRF can be an important tool to characterize museum glass objects when only in situ non-invasive analytical methods are allowed.
Keywords: A1 Journal article; Engineering sciences. Technology; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 3
DOI: 10.1016/J.JASREP.2017.05.020
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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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“The elemental composition of airborne particulate matter in the Atacama desert, Chile”. Rojas CM, Figueroa L, Janssens KH, Van Espen PE, Adams FC, Van Grieken RE, The science of the total environment 91, 251 (1990). http://doi.org/10.1016/0048-9697(90)90302-B
Abstract: Air particulate samples were collected at Chapiquiña near Arica (Chile) with a six-stage cascade impactor for about 17-day periods during a 31 month interval. Sixteen elements were determined by energy dispersive X-ray fluorescence analysis, and the elemental concentrations were subjected to principal factor analysis. The variability with time of the coarse particles was described by two factors both related to soil dispersion, whereas the fine particle variations could be explained by a third factor related to marine influence. Enrichment factors were compared with those obtained in other remote continental areas, in particular those of air particulate matter sampled at Chacaltaya, Bolivia. Results point to a negligible anthropogenic influence.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1016/0048-9697(90)90302-B
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“Evaluation of polyvinyl alcohol–borax/agarose (PVA–B/AG) blend hydrogels for removal of deteriorated consolidants from ancient Egyptian wall paintings”. Al-Emam E, Motawea AG, Janssens K, Caen J, Heritage science 7, 22 (2019). http://doi.org/10.1186/S40494-019-0264-Z
Abstract: This study concerns the assessment of a new polyvinyl alcohol–borax/agarose blend hydrogel (PVA–B/AG) tailored for the conservation of ancient Egyptian wall paintings. The increasing problems of deteriorated consolidants affecting ancient wall paintings have attracted the interest of conservation scientists in the last 20 years. The ability of a new blend for removing aged Paraloid® B-72 layers from painted stone and plaster samples has been evaluated. The hydrogel blend was used to expose the aged Paraloid in a controlled manner to six different cleaning system (CS). CS1–CS4 consist of solvents or solvent mixtures; CS5 and CS6 are nanostructured fluids (NSFs). The evaluation of the removal process was carried out by quantitative and qualitative methods, namely, visual examination, 3D microscopy, contact angle and colorimetric measurements and by Fourier transform infra-red spectrometry in reflectance mode. The results showed that the PVA–B/AG blend hydrogel, loaded with specific cleaning systems, was able to remove deteriorated B-72 and allowed to restore the painted surface to a state close to the original one. The PVA–B/AG blend showed good workability, permitting it to be easily cut, shaped, applied and removed. It could also be verified by means of different investigation methods that the blend left no detectable residues. As a final realistic check of the method, the PVA–B/AG hydrogel loaded with the best functioning cleaning system (CS3) was used to remove an aged consolidant layer from an ancient Egyptian wall painting.
Keywords: A1 Journal article; Engineering sciences. Technology; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 2
DOI: 10.1186/S40494-019-0264-Z
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“Examination of historical paintings by state-of-the-art hyperspectral imaging methods : from scanning infra-red spectroscopy to computed X-ray laminography”. Legrand S, Vanmeert F, van der Snickt G, Alfeld M, de Nolf W, Dik J, Janssens K, Heritage science 2, 13 (2014). http://doi.org/10.1186/2050-7445-2-13
Abstract: The development of advanced methods for non-destructive selective imaging of painted works of art at the macroscopic level based on radiation in the X-ray and infrared range of the electromagnetic spectrum are concisely reviewed. Such methods allow to either record depth-selective, element-selective or species-selective images of entire paintings. Camera-based full field methods (that record the image data in parallel) can be discerned next to scanning methods (that build up distributions in a sequential manner by scanning a beam of radiation over the surface of an artefact). Six methods are discussed: on the one hand, macroscopic X-ray fluorescence and X-ray diffraction imaging and X-ray laminography and on the other hand macroscopic Mid and Near Infrared hyper- and full spectral imaging and Optical Coherence Tomography. These methods can be considered to be improved versions of the well-established imaging methods employed worldwide for examination of paintings, i.e., X-ray radiography and Infrared reflectography. Possibilities and limitations of these new imaging techniques are outlined.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1186/2050-7445-2-13
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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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“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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“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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“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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“LA-ICP-MS labels early medieval Tuscan finds from Siena and Donoratico as late natron glass”. Hellemans K, Cagno S, Bogana L, Janssens K, Mendera M, Journal of Archaeological Science: Reports 23, 844 (2019). http://doi.org/10.1016/J.JASREP.2018.12.002
Abstract: The late antique/early medieval age in Central Italy is a well-suited context to verify the implications of the end of the natron glass supplies, and to explore the beginnings of the new plant-ash glass technology. We present the results of a LA-ICP-MS analysis campaign conducted on archaeological glass finds excavated at the Santa Maria della Scala hospital site in Siena and in Donoratico. This provided us with major, minor and trace element quantitative data for 49 glass samples belonging to drinking vessels and lamps, dated mainly between the 5th and the 8th century. On the basis of these data, we have sought to identify the working processes and possible glassware trade that are reflected in the glass composition. Major and minor element contents revealed that most samples, also at the later boundary of the explored timeframe, fit well within known late Roman glass classifications (e.g. HIMT, Levantine). Trace element analysis provided further information on the raw materials that were used in the glassmaking process, indicating the use of coastal sands as a silica source and allowing us to formulate different hypotheses on the materials used for the colouring process.
Keywords: A1 Journal article; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 3
DOI: 10.1016/J.JASREP.2018.12.002
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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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“Macroscopic x-ray powder diffraction imaging reveals Vermeer's discriminating use of lead white pigments in Girl with a Pearl Earring”. De Meyer S, Vanmeert F, Vertongen R, Van Loon A, Gonzalez V, Delaney J, Dooley K, Dik J, van der Snickt G, Vandivere A, Janssens K, Science Advances 5, eaax1975 (2019). http://doi.org/10.1126/SCIADV.AAX1975
Abstract: Until the 19th century, lead white was the most important white pigment used in oil paintings. Lead white is typically composed of two crystalline lead carbonates: hydrocerussite [2PbCO(3)center dot Pb(OH)(2)] and cerussite (PbCO3). Depending on the ratio between hydrocerussite and cerussite, lead white can be classified into different subtypes, each with different optical properties. Current methods to investigate and differentiate between lead white subtypes involve invasive sampling on a microscopic scale, introducing problems of paint damage and representativeness. In this study, a 17th century painting Girl with a Pearl Earring (by Johannes Vermeer, c. 1665, collection of the Mauritshuis, NL) was analyzed with a recently developed mobile and noninvasive macroscopic x-ray powder diffraction (MA-XRPD) scanner within the project Girl in the Spotlight. Four different subtypes of lead white were identified using XRPD imaging at the macroscopic and microscopic scale, implying that Vermeer was highly discriminatory in his use of lead white.
Keywords: A1 Journal article; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 3
DOI: 10.1126/SCIADV.AAX1975
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