“Study of the influence of water and oxygen on the morphology and chemistry of pyritized lignite: Implications for the development of a preventive drying protocol”. Odin GP, Belhadj O, Vanmeert F, Janssens K, Wattiaux A, Francois A, Rouchon V, Journal Of Cultural Heritage 42, 117 (2020). http://doi.org/10.1016/J.CULHER.2019.08.004
Abstract: Lignite constitutes a unique testimony of past diversity and evolution of land plants. This material, usually waterlogged, is particularly difficult to dry because of its mechanical sensitivity to moisture changes. In addition, lignite may contain organic and inorganic sulfides, which are susceptible to oxidation once excavated. As a result, the conservation of lignite is particularly complicated and lignite remains scarce in paleobotanical collections. We experimentally test different drying protocols on waterlogged pyritized lignite, while documenting the respective role of water and oxygen on their morphology and chemistry. The results reveal that inorganic sulfides (pyrite) are more prone to oxidation than organic sulfides (thioethers). Critically, water is the main factor responsible for this oxidation, provoking sulfate efflorescence when samples are further exposed to oxygen. On the other hand, an abrupt removal of water provokes significant mechanical damage while sulfur remains mostly present as reduced compounds. The control of water and oxygen exchanges is thus critical for conserving lignite without physical damage and efflorescence. We successfully achieved this by storing the samples in hermetically sealed plastic bags made of semi-permeable films, which slowly release humidity while allowing a gradual influx of oxygen. We advise curators to quickly handle lignite once removed from its waterlogged environment because of the fast kinetics of oxidation, and to choose a drying protocol according to the purpose of the lignite treated. Finally, once dried, we advise to store the lignite in an anhydrous environment. (C) 2019 Elsevier Masson SAS. All rights reserved.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.1
DOI: 10.1016/J.CULHER.2019.08.004
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“Understanding air-tight case environments at the National Museum of the American Indian (Smithsonian Institution) by SPME-GC-MS analysis”. Alvarez-Martin A, McHugh K, Martin C, Kavich G, Kaczkowski R, Journal Of Cultural Heritage 44, 38 (2020). http://doi.org/10.1016/J.CULHER.2020.01.004
Abstract: Some volatile organic compounds (VOCs), generated and accumulated in exhibition cases, are capable of inducing degradation in historical artifacts. In this context, it is of special importance to distinguish between VOCs emitted by the construction materials and/or the historical objects, with the ultimate goal of proposing an appropriate mitigation strategy. To pursue this goal, a comprehensive analysis based on solid phase microextraction (SPME) coupled to gas chromatography-mass spectrometry (GC-MS) has been optimized. The sampling setup used in this study does not require any modification of the exhibition design, and the testing remained nearly invisible and unobtrusive to museum visitors. This methodology has been applied to an issue encountered at the National Museum of the American Indian (Smithsonian Institution), where an unpleasant smell was detected in airtight exhibition cases already on display containing sensitive historical objects. The analysis of the volatiles emitted by construction materials allowed for identification of characteristic markers emitted by each material, and the ability to identify their overall contribution in the exhibition case. Via this method, SPME-GC-MS confirmed via the detection of some specific markers that the unpleasant smell was released by one of the construction materials and had accumulated in the exhibition case. In addition, due to the measurements taken in different positions around the exhibition cases, results were useful to point out the range of efficiency of the sorbent material placed in some of the exhibition cases as a first attempt of mitigation technique. (C) 2020 Elsevier Masson SAS. All rights reserved.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.1
DOI: 10.1016/J.CULHER.2020.01.004
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“Investigation of volatile organic compounds in museum storage areas”. Alvarez-Martin A, Wilcop M, Anderson R, Wendt D, Barden R, Kavich GM, Air Quality Atmosphere And Health 14, 1797 (2021). http://doi.org/10.1007/S11869-021-01054-2
Abstract: This study investigates the complex mixture of volatile organic compounds (VOCs) released by and accumulated within a collection of historic medicinal, pharmaceutical, and cosmetic artifacts housed at the National Museum of American History (Smithsonian Institution). In recent years, staff have become concerned, both for the safety of the objects and for personnel working in the collection, about strong unremediated odors accumulating within several storage cabinets. Museum staff also wondered if non-odorous off-gassing might need remediation. Solid-phase microextraction combined with gas chromatography–mass spectrometry analysis (SPME–GC–MS) was used to identify VOCs present in the storage room housing the collection. Over 160 compounds were detected and identified overall. Among these, 49 appeared to be directly related to ingredients used in the manufacture of many collection items. The results of the study suggest that SPME–GC–MS can be a strong tool for the rapid screening of multicomponent museum collections exhibiting off-gassing problems, before the pursuit of other more tedious analytical approaches. Additionally, the study reveals valuable insight into the characteristic volatile emission of historic medicinal, pharmaceutical, and cosmetic artifacts, increasing understanding of, and decision-making for, similar collections of objects. Eventually, it is hoped that this information can be used to inform mitigation strategies for the capture and reduction of VOCs in collections storage areas.
Keywords: A1 Journal article; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 3.184
DOI: 10.1007/S11869-021-01054-2
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“Zinc distribution and speciation within rocket plants (Eruca vesicaria L. Cavalieri) grown on a polluted soil amended with compost as determined by XRF microtomography and Micro-Xanes”. Terzano R, al Chami Z, Vekemans B, Janssens K, Miano T, Ruggiero P, Journal of agricultural and food chemistry 56, 3222 (2008). http://doi.org/10.1021/JF073304E
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.154
Times cited: 68
DOI: 10.1021/JF073304E
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“Restoration of X-ray fluorescence images of hidden paintings”. Anitha A, Brasoveanu A, Duarte M, Hughes S, Daubechies I, Dik J, Janssens K, Alfeld M, Signal processing 93, 592 (2013). http://doi.org/10.1016/J.SIGPRO.2012.09.027
Abstract: This paper describes our methods for repairing and restoring images of hidden paintings (paintings that have been painted over and are now covered by a new surface painting) that have been obtained via noninvasive X-ray fluorescence imaging of their canvases. This recently developed imaging technique measures the concentrations of various chemical elements at each two-dimensional spatial location across the canvas. These concentrations in turn result from pigments present both in the surface painting and in the hidden painting beneath. These X-ray fluorescence images provide the best available data from which to noninvasively study a hidden painting. However, they are typically marred by artifacts of the imaging process, features of the surface painting, and areas of information loss. Repairing and restoring these images thus consists of three stages: (1) repairing acquisition artifacts in the dataset, (2) removal of features in the images that result from the surface painting rather than the hidden painting, and (3) identification and repair of areas of information loss. We describe methods we have developed to address each of these stages: a total-variation minimization approach to artifact correction, a novel method for underdetermined blind source separation with multimodal side information to address surface feature removal, and two application-specific new methods for automatically identifying particularly thick or X-ray absorbent surface features in the painting. Finally, we demonstrate the results of our methods on a hidden painting by the artist Vincent van Gogh. (C) 2012 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.11
Times cited: 13
DOI: 10.1016/J.SIGPRO.2012.09.027
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“Microscopic single particle characterization of zeolites synthesized in a soil polluted by copper or cadmium and treated with coal fly ash”. Terzano R, Spagnuolo M, Medici L, Dorriné, W, Janssens K, Ruggiero P, Applied clay science 35, 128 (2007). http://doi.org/10.1016/J.CLAY.2006.07.005
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.101
Times cited: 17
DOI: 10.1016/J.CLAY.2006.07.005
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“Optimization of sample clean-up for the GC-C-IRMS and GC-IT-MS analysis of PAHs from air particulate matter”. Buczyńska AJ, Geypens B, Van Grieken R, De Wael K, Microchemical journal 119, 83 (2015). http://doi.org/10.1016/J.MICROC.2014.10.009
Abstract: The optimization of sample clean-up for the analysis of air particulate matter PAHs stable carbon isotope ratio using Solid Phase Extraction (SPE) cartridges is described in this paper. Various adsorbents, such as silica gel, alumina, florisil, commercially available for sample purification were compared. Best performance for the clean-up of 24-h air particulate matter samples was obtained with activated silica-gel columns in terms of selectivity and reproducibility. One step clean-up was optimized for concentration determination and in case of co-elutions, a second step was additionally used for carbon isotope ratio analysis. The method was subsequently validated with standard reference material and was checked for carbon isotope fractionation artefacts. No significant differences in δ13C values were found for unprocessed solutions of PAHs and solution subjected to the extraction and purification procedure. The procedure was tested on air particulate matter samples collected in three different locations in Belgium. Statistically significant differences in carbon isotope ratio of PAHs between Borgerhout location and Zelzate or Gent were noticed, confirming the differences in distribution and diagnostic ratios found during the concentration analyses and different PAH sources in these locations. The results, therefore, seem very promising for the use of δ13C of PAHs as an additional information helpful in source identification of these pollutants
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 7
DOI: 10.1016/J.MICROC.2014.10.009
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“Air quality monitoring in a museum for preventive conservation : results of a three-year study in the Plantin-Moretus Museum in Antwerp, Belgium”. Krupińska B, Van Grieken R, De Wael K, Microchemical journal 110, 350 (2013). http://doi.org/10.1016/J.MICROC.2013.05.006
Abstract: Through different research projects on air quality in museums, researcher and conservators try identifying various risks of air pollution on materials. The conclusions may be later translated into specific actions for a maximum preservation of the museum collections, a process known as preventive conservation. Air pollution is a particular problem in historical buildings such as museums, because they were not originally built to exhibit and protect art objects in a sustainable way. This article reports on the data and results that were obtained during 10 sampling campaigns, in the period between November 2008 and February 2012 in a museum in Antwerp (Belgium), i.e. Plantin-Moretus Museum/Print Room. Different pollutants were measured inside and outside the museum such as inorganic gases, particulate matter and black carbon. The report specifically addresses environmental factors that may be responsible for damage to the collections present in museums. Thanks to the knowledge about the current situation in the museum, accurate solutions regarding preventive conservation, in general, are suggested.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 46
DOI: 10.1016/J.MICROC.2013.05.006
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“Assessment of the air quality (NO2, SO2, O3 and particulate matter) in the Plantin-Moretus Museum/Print Room in Antwerp, Belgium, in different seasons of the year”. Krupińska B, Worobiec A, Rotondo GG, Novaković, V, Kontozova V, Ro C-U, Van Grieken R, De Wael K, Microchemical journal 102, 49 (2012). http://doi.org/10.1016/J.MICROC.2011.11.008
Abstract: The Plantin-Moretus Museum/Print Room in Antwerp, Belgium, gathers one of the most precious collections of typographical material and old printed books in the world. Rich decorations of this former printing-house and the history of the building itself underline its uniqueness. The cultural heritage (CH) objects collected in the museum, in particular books and manuscripts are vulnerable to the atmospheric pollution and can be irreversibly damaged. To assess the air quality inside the museum, four consecutive sampling campaigns were performed in each season of the year. The gas monitoring of nitrogen dioxide (NO2), sulphur dioxide (SO2) and ozone (O3) was carried out outside the building, in galleries and in showcases by means of using diffusive samplers. The particulate matter (PM) was collected in bulk form and as single particles and then analysed with use of energy dispersive X-ray fluorescence (EDXRF) and electron probe micro-analyser (EPMA), respectively. The museum complex turned out to show good protection against gaseous pollutants, especially SO2 and O3. The concentrations of these pollutants were significantly reduced inside the building in comparison to the outdoor ones. Similar protective character of the museum complex was established in case of the coarse fraction of PM; however with some limitations. Single particle analysis showed that the relative abundance of carbon-rich particles inside the museum was greater than outside. Moreover, these particles contributed more to the fine fraction of PM than to the coarse fraction. Therefore, for better preservation of cultural heritage, special attention should be paid to the small particles and their distribution within the museum.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Laboratory Experimental Medicine and Pediatrics (LEMP)
Impact Factor: 3.034
Times cited: 25
DOI: 10.1016/J.MICROC.2011.11.008
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“Evaluation of airborne particles at the Alhambra monument in Granada, Spain”. Horemans B, Cardell C, Bencs L, Kontozova-Deutsch V, De Wael K, Van Grieken R, Microchemical journal 99, 429 (2011). http://doi.org/10.1016/J.MICROC.2011.06.018
Abstract: As a part of an ongoing investigation regarding the air quality at the Alhambra monument (UNESCO World Cultural Heritage), indoor and outdoor atmospheric aerosols (PM1 and PM10-1) and pollutant gases (O3, NO2, SO2 and NH3) were studied during summer and winter. Bulk elements, ionic compounds and black carbon (BC) in aerosols were analyzed with X-ray fluorescence spectrometry, ion chromatography and aethalometry/reflectometry, respectively. Natural PM10-1 aerosols, such as carbonate-rich soil and sea salts, reacted with a typical urban atmosphere, producing a mixture of particulates with diverse chemical composition. The content/formation of secondary inorganic aerosols depended on the air temperature and absolute humidity. Ratios of typical mineral elements (i.e., Ti/Fe and Si/Fe) showed that Saharan dust events contribute to the composition of the observed mineral aerosol content. BC, V and Ni originated from diesel exhaust, while Cu, Cr, Pb and Zn came mainly from non-exhaust vehicular emissions. Weathering phenomena, such as blackening and pigment discoloration, which could arise from gradual aerosol deposition indoors, are discussed.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 39
DOI: 10.1016/J.MICROC.2011.06.018
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“Urban air pollutants and their micro effects on medieval stained glass windows”. Kontozova-Deutsch V, Deutsch F, Godoi RHM, Van Grieken R, De Wael K, Microchemical journal 99, 508 (2011). http://doi.org/10.1016/J.MICROC.2011.07.003
Abstract: Levels of urban gaseous and particulate pollutants were investigated in the Cathedral of Cologne, Germany in the framework of the EU-project VIDRIO. The purpose of this study was to evaluate the influence of a protective double glazing system on the preservation of ancient stained glass windows by sampling at protected and unprotected windows (indoors, in the interspace and outdoor of the Cathedral). The interspace between the ancient stained glass window and the protective glazing is flushed in the Cathedral by indoor air, hence isolating the historic glass from the outdoor air and exposing it to indoor air on both sides of the glass panels. Concentrations of aggressive gaseous pollutants such as NO2, SO2, O3 and CO2 as well as elemental concentrations of bulk particles and relative abundances of single particles were surveyed at all sampling locations. Elemental concentrations in bulk particulate matter were found to be significantly lower inside the Cathedral in comparison to the outdoor air. This result is advantageous for the stained glass windows. Single particle analysis of the samples from Cologne showed also soil dust and organic particles as well as sulphates and nitrates, from which the latter two compounds are dangerous for the stained glass windows. On the base of the obtained results, it can be concluded that the protective glazing system in the Cathedral of Cologne can be considered as predominantly advantageous from both the gases' point of view (except for NO2-candles burning) and from the particles' point of view.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 6
DOI: 10.1016/J.MICROC.2011.07.003
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“Assessing the stability of arsenic sulfide pigments and influence of the binding media on their degradation by means of spectroscopic and electrochemical techniques”. Vermeulen M, Janssens K, Sanyova J, Rahemi V, McGlinchey C, De Wael K, Microchemical journal 138, 82 (2018). http://doi.org/10.1016/J.MICROC.2018.01.004
Abstract: In this paper, we used the semiconducting and lightfastness properties of synthetic and mineral arsenic sulfide pigments to study their stability by means of electrochemical and microfadometric techniques. A combination of these techniques shows that in the early stage of the degradation process, amorphous arsenic sulfides are more stable than both crystalline forms, while upon longer exposure time, amorphous pigments will fade more than both mineral pigments, making it less suitable. While the stability study was carried out on unbound pigments, the influence of the organic binder on the relative degradation of the arsenic sulfide pigments was investigated through a multi-analytical approach on pigment/binder mock-up paint samples. For this purpose, the formation of arsenic trioxide was assessed by micro Fourier transform infrared (μ-FTIR) spectroscopy while the influence of the binder on the formation of sulfates was studied by means of synchrotron radiation X-ray near edge structure (μ-XANES). Both techniques elucidate a higher stability of all pigments in gum arabic while the use of egg yolk as binder leads to the most degradation, most likely due to its sulfur-rich composition. In the context of the degradation of arsenic sulfide pigments, other binders such as animal glue, egg white or linseed oil show an intermediate impact.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 4
DOI: 10.1016/J.MICROC.2018.01.004
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“Chemical imaging of stained-glass windows by means of macro X-ray fluorescence (MA-XRF) scanning”. van der Snickt G, Legrand S, Caen J, Vanmeert F, Alfeld M, Janssens K, Microchemical journal 124, 615 (2016). http://doi.org/10.1016/J.MICROC.2015.10.010
Abstract: Since the recent development of a mobile setup, MA-XRF scanning proved a valuable tool for the non-invasive, technical study of paintings. In this work, the applicability of MA-XRF scanning for investigating stained-glass windows inside a conservation studio is assessed by analysis of a high-profile, well-studied late-mediaeval panel. Although accurate quantification of components is not feasible with this analytical imaging technique, plotting the detected intensities of K versus Ca in a scatter plot allowed distinguishing glass fragments of different compositional types within the same panel. In particular, clusters in the Ca/K correlation plot revealed the presence of two subtypes of potash glass and three subtypes of high lime low alkali glass. MA-XRF results proved consistent with previous quantitative SEM-EDX analysis on two samples and analytical-based theories on glass production in the Low Countries formulated in literature. A bi-plot of the intensities of the more energetic Rb-K versus Sr-K emission lines yielded a similar glass type differentiation and is here presented as suitable alternative in case the Ca/K signal ratio is affected by superimposed weathering crusts. Apart from identification of the chromophores responsible for the green, blue and red glass colors, contrasting the associated elemental distribution maps obtained on the exterior and interior side of the glass permitted discriminating between colored pot metal glass and multi-layered flashed glass as well. Finally, the benefit of obtaining compositional information from the entire surface, as opposed to point analysis, was illustrated by the discovery of what appears to be a green cobalt glass a feature that was previously missed on this well-studied stained-glass window, both by connoisseurs and spectroscopic sample analysis. (C) 2015 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Impact Factor: 3.034
Times cited: 22
DOI: 10.1016/J.MICROC.2015.10.010
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“Chromium speciation methods and infrared spectroscopy for studying the chemical reactivity of lead chromate-based pigments in oil medium”. Monico L, Janssens K, Cotte M, Sorace L, Vanmeert F, Brunetti BG, Miliani C, Microchemical journal
T2 –, TECHNART Conference, APR 27-30, 2015, Catania, ITALY 124, 272 (2016). http://doi.org/10.1016/J.MICROC.2015.08.028
Abstract: Environmental factors, such as light, humidity and temperature are triggering agents for the alteration of organic and/or inorganic constituents of oil paintings. The oxidation of the organic material is favored by increasing of relative humidity and temperature, whereas processes involving changes of the oxidation states of a number of inorganic pigments (e.g., vermilion, cadmium yellows, zinc yellows, chrome yellows) are mainly activated by light-exposure. In view of the optimization of the long-term conservation and restoration strategies of paintings it is of relevant interest to establish the consequences of thermal parameters (temperature and relative humidity) on the chemical/photochemical-reactivity and the nature of the alteration products of light sensitive-pigments in oil medium. To this aim here we propose a multi-method analytical approach based on the combination of diffuse reflectance UV-Vis, FTIR, synchrotron radiation (SR)-based micro X-ray fluorescence (mu-XRF)/micro-X-ray absorption neat edge structure ()CANES) and electron paramagnetic resonance (EPR) spectroscopies for studying the effects of different relative humidity conditions before and after light exposure on the reactivity of a series of lead chromate-based pigments [such as PbCrO4 center dot PbO (monoclinic), PbCrO4 (monoclinic) and PbCr0.2S0.8O4 (orthorhombic)] in an oil medium. The investigation of paint models was also compared to that of a late 19th century historical orthorhombic PbCr0.4S0.6O4 oil paint. Diffuse reflectance UV-Vis and FTIR spectroscopies were used to obtain information associated with chromatic changes and the formation of organo-metal degradation products at the paint surface. SR-based Cr K-edge mu-XANES/mu-XRF mapping analysis and EPR spectroscopy were employed in a complementary fashion to determine the amount, nature and distribution of Cr(III) and Cr(V)-based alteration compounds within the paints with micrometric spatial resolution. Under the employed thermal aging conditions, lead(II)-carboxylates and reduced Cr-compounds (in abundance of up to about 35% at the surface) have been identified in the lead chromate-based paints. The tendency of chromates to become reduced increased with increasing moisture levels and was favored for the orthorhombic PbCr0.2S0.8O4 compounds. The redox process gave rise to the formation of Cr(V)-species in relative amount much higher than that was formed in the equivalent paint which was exposed only to light. After light-exposure of the thermally aged paints, compounds ascribable to the oxidation of the organic binder were detected for all the types of pigments. Nevertheless, the previous thermal treatment increased the tendency toward photo-reduction of only the PbCr0.2S0.8O4 pigment. For this light-sensitive compound, the thickness variation of the reduced Cr-rich (ca. 70%) photo-alteration layer with moisture levels could be ascribed to a surface passivation phenomenon that had already occurred before photochemical aging. (C) 2015 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 23
DOI: 10.1016/J.MICROC.2015.08.028
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“Development of a new portable X-ray powder diffractometer and its demonstration to on-site analysis of two selected old master paintings from the Rijksmuseum”. Hirayama A, Abe Y, van Loon A, De Keyser N, Noble P, Vanmeert F, Janssens K, Tantrakarn K, Taniguchi K, Nakai I, Microchemical journal 138, 266 (2018). http://doi.org/10.1016/J.MICROC.2018.01.003
Abstract: A portable X-ray powder diffractometer (p-XRD) PT-APXRD III has been developed for onsite analysis of paintings and archaeological samples. By using a Cu anode X-ray tube and a silicon drift diode (SDD) detector, diffraction patterns with a high signalnoise (S/N) ratio can be recorded. The X-ray tube can be operated at a maximum voltage of 60 kV, which makes it possible to simultaneously record X-ray fluorescence spectra up to the high-energy region. The total weight of this instrument is 16 kg, which can be carried anywhere and the goniometer unit (5.6 kg) can be placed on a tripod for analysis of mural paintings. We brought the instrument to the Rijksmuseum in the Netherlands to examine its applicability for the analysis of oil paintings. We successfully analyzed two seventeenthcentury oil paintings by Johannes Vermeer and Jan Davidsz de Heem (copy after). Ultramarine blue, leadtin yellow type I, and Naples yellow were identified from the diffraction patterns, demonstrating the high practicality of this instrument. Furthermore, it was found from the SEM-EDX analysis of a paint cross section that the yellow pigment was applied in separate layers rather than being mixed. This diffractometer will be commercially available in the near future and will have many applications in the field of material analysis. (C) 2018 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 2
DOI: 10.1016/J.MICROC.2018.01.003
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“In situ macro X-ray fluorescence (MA-XRF) scanning as a non-invasive tool to probe for subsurface modifications in paintings by PP Rubens”. van der Snickt G, Legrand S, Slama I, Van Zuien E, Gruber G, Van der Stighelen K, Klaassen L, Oberthaler E, Janssens K, Microchemical journal 138, 238 (2018). http://doi.org/10.1016/J.MICROC.2018.01.019
Abstract: Within the last decade, the established synchrotron- and laboratory-based micro-XRF scanning technology inspired the development of mobile instruments that allow performing in situ experiments on paintings on a macro scale. Since the development of the first mobile scanner at the start of this decade, this chemical imaging technique has brought new insights with respect to several iconic paintings, especially in cases when standard imaging techniques such as X-Ray Radiography (XRR) or Infrared Refiectography (IRR) yielded ambiguous results. The ability of scanning MA-XRF to visualise the distribution of elements detected at and below the paint surface renders this spectrometric method particularly helpful for studying painting techniques and revealing materials that remain hidden below the paint surface. The latter aspect is especially relevant for the technical study of works by Pieter Paul Rubens (1577-1640) as this highly productive seventeenth century master is particularly renowned for the continuous application of modifications during (and even after) the entire course of the creative process. In this work, the added value of MA-XRF scanning experiments for visualising these subsurface features is exemplified by interpreting the chemical images obtained on three of Rubens' key works. Special attention is given to three types of adjustments that are particularly relevant for the technical study of Rubens' oeuvre: (1) compositional changes ('pentimenti'), exemplified by results obtained on The Portrait of Helene Fourment (ca. 1638), (2) extensions to the support ('Anstlickungen.), illustrated by imaging experiments performed on the Venus Frigida (1614) and (3) Rubens' intriguing halos around flesh tones, as found amongst others in The Incredulity of Saint Thomas (1613). The ensuing insights in the paint stratigraphy and the underlying supporting structure illustrate the potential of MA-XRF scanning for the non-invasive, comparative study of Rubens' oeuvre. The results do not only augment the understanding of the complex genesis of Rubens' works of art and his efficient painting technique, but prove valuable during conservation treatments as well, as addressed in this paper. (C) 2018 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 5
DOI: 10.1016/J.MICROC.2018.01.019
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“Macro X-ray fluorescence (MA-XRF) scanning of illuminated manuscript fragments: potentialities and challenges”. Ricciardi P, Legrand S, Bertolotti G, Janssens K, Microchemical journal
T2 –, TECHNART Conference, APR 27-30, 2015, Catania, ITALY 124, 785 (2016). http://doi.org/10.1016/J.MICROC.2015.10.020
Abstract: Macro X-ray fluorescence scanning (MA-XRF) is gradually becoming an established technique for the non-invasive analytical investigation of painted surfaces. This paper discusses some of the benefits and limitations of employing MA-XRF for the study of manuscript illuminations. Art historical research on this type of artefacts that is based on scientific measurements is often limited by the fact that usually no sampling can take place. Hence there is a need for non-invasive analytical tools that make it possible to conduct systematic investigations. As a representative example of this type of objects, a 15th century Italian manuscript fragment from the collection of the Fitzwilliam Museum in Cambridge (UK) is investigated. The aims of the study were to gain insight into the materials and techniques employed by Renaissance illuminators and to help answer specific questions regarding the fragment's authorship and geographic origin. The complementarity and advantages of MA-XRF mapping versus site-specific analyses are discussed. For this purpose, MA-XRF data are evaluated and compared with the results of other analytical techniques. The interpretation of the elemental maps is discussed along with the challenges faced during the analysis. (C) 2015 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 24
DOI: 10.1016/J.MICROC.2015.10.020
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“Non-invasive analysis of a 15th century illuminated manuscript fragment: point-based vs imaging spectroscopy”. Legrand S, Ricciardi P, Nodari L, Janssens K, Microchemical journal 138, 162 (2018). http://doi.org/10.1016/J.MICROC.2018.01.001
Abstract: Illuminated manuscript fragments are some of the best preserved objects of Western cultural heritage. Therefore, scholars are limited to non-invasive – often point-based – methods, to answer questions on material usage, technique, origin and previous treatments. These powerful methods yield specific information; however, the information is limited to the number of points analyzed. Imaging spectroscopies such as MA-XRF and MA-rFTIR combine specificity with the power of imaging, resulting in distribution images that are interpretable by non-spectroscopists and the public at large. In this paper the possible added value of using imaging spectroscopy is discussed. Do these methods yield the same results as an extensive point-based spectroscopic campaign and can they bring novel information? As a case study, a 15th century illuminated manuscript fragment is employed in order to explore the differences between these approaches and present an inventory of their advantages and limitations. (C) 2018 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 12
DOI: 10.1016/J.MICROC.2018.01.001
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“Protecting and stimulating effect on the degradation of eosin lakes. Part 1 : lead white and cobalt blue”. Alvarez-Martin A, Janssens K, Microchemical journal 141, 51 (2018). http://doi.org/10.1016/J.MICROC.2018.05.005
Abstract: An important problem encountered during the preservation of paintings and other artworks is the fading of the original colors due to exposure of the colorants to light. This fact is clearly evidenced in some of Vincent Van Gogh's paintings in which an organic red, eosin or geranium lake, is present. The identification of eosin and the characterization of its degradation products in paintings represents a challenge because of (i) the generally low concentration of the pigment remaining after an aging period of ca 100 years, (ii) the scarcity of the paint micro samples available for analysis and the difficulty of obtaining additional ones and (iii) the complexity of the degradation behavior of eosin when it is mixed with organic or inorganic pigments, binding media or varnish. This study presents an accelerated aging experiment of eosin paint models in order to understand better the discoloration process; more specifically the influence of different metals with which eosin forms complexes and of the presence of admixture pigments such as lead white and cobalt blue on the lightfastness of eosin is evaluated. Paint model samples were prepared using eosin, lead white, and cobalt blue in different mixing ratios and were characterized with several techniques before and after aging. The possible formation of intermediate molecular forms during the aging experiment and the influence of pigment ratios on the discoloration process were monitored at periodic intervals using a combination of LTV Visible and attenuated total Reflectance-Fourier transform infrared (ATR-FTIR) spectroscopies. Raman spectroscopy, scanning electron microscopy coupled to energy-dispersive X-ray analysis (SEM-EDX) and optical microscopy (OM) analyses were performed to gain information about the discoloration processes taking place within the paint models. Eosin precipitated on lead, aluminum and potassium/aluminum salts was used. These three lakes showed similar discoloration rates under light exposure. In contrast, the presence and relative abundance of the admixture pigments lead white and cobalt blue had a significant influence on the (speed of the) eosin discoloration process. The presence of lead white and cobalt blue appears to stimulate the eosin degradation. However, the cobalt blue shows less influence in the discoloration process, showing a protective effect during the first stages of the aging. This may be qualitatively explained in terms of the ability of lead white to scatter light towards eosin molecules and the absorption characteristics of cobalt blue in the green range of the electromagnetic spectrum, shielding eosin from incoming light. The color changes observed in the paint reconstructions are similar to discoloration phenomena visible in some Van Gogh paintings and can offer an explanation of the gradual discoloration process that took place over the years. These insights will be helpful to estimate the original hues color used/intended by the artist.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 3
DOI: 10.1016/J.MICROC.2018.05.005
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“Rembrandt's 'Saul and David' (c. 1652) : use of multiple types of smalt evidenced by means of non-destructive imaging”. Janssens K, van der Snickt G, Alfeld M, Noble P, van Loon A, Delaney J, Conover D, Zeibel J, Dik J, Microchemical journal 126, 515 (2016). http://doi.org/10.1016/J.MICROC.2016.01.013
Abstract: The painting Saul and David, considered to date from c. 1652 and previously attributed to Rembrandt van Rijn and/or his studio, is a complex work of art that has been recently subjected to intensive investigation and conservation treatment. The goal of the research was to give insight into the painting's physical construction and condition in preparation for conservation treatment. It was also anticipated that analysis would shed light on authenticity questions and Rembrandt's role in the creation of the painting. The painting depicts the Old Testament figures of King Saul and David. At left is Saul, seated, holding a spear and wiping a tear from his eye with a curtain. David kneels before him at the right playing his harp. In the past, the large sections with the life-size figures were cut apart and later reassembled. A third piece of canvas was added to replace a missing piece of canvas above the head of David. As part of the investigation into the authenticity of the curtain area, a number of paint micro samples were examined with LM and SEM-EDX. Given that the earth, smalt and lake pigments used in the painting could not be imaged with traditional imaging techniques, the entire painting was also examined with state of the art non-destructive imaging techniques. Special attention was devoted to the presence of cobalt-containing materials, specifically the blue glass pigment smalt considered characteristic for the late Rembrandt. A combination of quantitative electron microprobe analysis and macroscopic X-ray fluorescence scanning revealed that three types of cobalt-containing materials are present in the painting. The first type is a cobalt drier that was found in the overpaint used to cover up the canvas inset and the joins that were added in the 19th century. The other two Co-containing materials are part of the original paint used by Rembrandt and comprise two varieties of smalt, a K-rich glass pigment that derives its gray-blue color by doping with Co-ions. Smalt paint with a higher Ni content (NiO:CoO ratio of around 1:4) was used to depict the blue stripes in Saul's colorful turban, while smalt with a lower Ni content was employed (NiO:CoO ratio of around 1:5) for the broad expanses of Saul's garments. The presence of two types of smalt not only supports the recent re-attribution of the painting to Rembrandt, but also that the picture was painted in two phases. Saul's dark red garment is painted in a rough, “loose” manner and the now discolored smalt-rich layer was found to have been partially removed during a past restoration treatment/s. In contrast, the blue-green smalt in the turban is much better preserved and provides a colorful accent. While the use of different types of smalt in a Rembrandt painting has been previously identified using quantitative EDX analysis of paint cross-sections, to the best of our knowledge this is the first time such a distinction has been observed in a 17th-century painting using non-destructive imaging techniques. In addition to the XRF-based non-invasive elemental mapping, hyperspectral imaging in the visual to near-infrared (VNIR) region was also carried out. (C) 2016 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 18
DOI: 10.1016/J.MICROC.2016.01.013
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“Simplex Volume Maximization (SiVM): a matrix factorization algorithm with non-negative constrains and low computing demands for the interpretation of full spectral X-ray fluorescence imaging data”. Alfeld M, Wahabzada M, Bauckhage C, Kersting K, van der Snickt G, Noble P, Janssens K, Wellenreuther G, Falkenberg G, Microchemical journal 132, 179 (2017). http://doi.org/10.1016/J.MICROC.2017.02.001
Abstract: Technological progress allows for an ever-faster acquisition of hyperspectral data, challenging the users to keep up with interpreting the recorded data. Matrix factorization, the representation of data sets by bases (or loads) and coefficient (or score) images is long used to support the interpretation of complex data sets. We propose in this publication Simplex Volume Maximization (SiVM) for the analysis of X-ray fluorescence (XRF) imaging data sets. SiVM selects archetypical data points that represents the data set and thus provides easily understandable bases, preserves the non-negative character of XRF data sets and has low demands concerning computing resources. We apply SiVM on an XRF data set of Hans Memling's Portrait of a man from the Lespinette family from the collection of the Mauritshuis (The Hague, NL) and discuss capabilities and shortcomings of SiVM. (C) 2017 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.034
Times cited: 8
DOI: 10.1016/J.MICROC.2017.02.001
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“SPME-GC–MS for the off-gassing analysis of a complex museum object”. Alvarez-Martin A, Kavich G, Microchemical Journal 167, 106276 (2021). http://doi.org/10.1016/J.MICROC.2021.106276
Abstract: The identification of volatile organic compounds (VOCs) emitted by a complex museum object, composed of materials of different nature, has been optimized by solid-phase microextraction coupled to gas chromatography-mass spectrometry (SPME-GC–MS). The performance of two fiber coatings and four sampling times were tested and compared in order to define the best sampling conditions. The method allowed a fair extraction of volatile and semivolatile compounds emitted naturally by the object, without any type of accelerating aging. In addition, on-fiber derivatization was applied to improve the extraction efficiency and reduce the sampling time of harmful carboxylic acids emitted by the object. The results obtained are of prime importance to show the off-gassing activity of a valuable museum object in order to take further decisions related with its storage and display conditions.
Keywords: A1 Journal article; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 3.034
DOI: 10.1016/J.MICROC.2021.106276
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“Electrodeposition of gold nanoparticles on boron doped diamond electrodes for the enhanced reduction of small organic molecules”. Bottari F, De Wael K, Journal of electroanalytical chemistry : an international journal devoted to all aspects of electrode kynetics, interfacial structure, properties of electrolytes, colloid and biological electrochemistry. 801, 521 (2017). http://doi.org/10.1016/J.JELECHEM.2017.07.053
Abstract: The performance of gold nanoparticles electrodeposited on boron doped diamond (BDD) electrodes was investigated in respect to the reduction of chloramphenicol (CAP), an antibiotic of the phenicols family. The chosen deposition protocol, three nucleation-growing pulses, shows a remarkable surface coverage, with an even distribution of average-sized gold particles (~ 50 nm), and it was proven capable of generating a three-fold increase in the CAP reduction current. A calibration plot for CAP detection was obtained in the micromolar range (535 μM) with good correlation coefficient (0.9959) and an improved sensitivity of 0.053 μA μM− 1 mm− 2 compared to the electrochemistry of CAP at a bare BDD electrode.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.012
Times cited: 4
DOI: 10.1016/J.JELECHEM.2017.07.053
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“Voltammetric sensing using an array of modified SPCE coupled with machine learning strategies for the improved identification of opioids in presence of cutting agents”. Ortiz-Aguayo D, De Wael K, del Valle M, Journal Of Electroanalytical Chemistry 902, 115770 (2021). http://doi.org/10.1016/J.JELECHEM.2021.115770
Abstract: This work reports the use of modified screen-printed carbon electrodes (SPCEs) for the identification of three drugs of abuse and two habitual cutting agents, caffeine and paracetamol, combining voltammetric sensing and chemometrics. In order to achieve this goal, codeine, heroin and morphine were subjected to Square Wave Voltammetry (SWV) at pH 7, in order to elucidate their electrochemical fingerprints. The optimized SPCEs electrode array, which have a differentiated response for the three oxidizable compounds, was derived from Carbon, Prussian blue, Cobalt (II) phthalocyanine, Copper (II) oxide, Polypyrrole and Palladium nanoparticles ink-modified carbon electrodes. Finally, Principal Component Analysis (PCA) coupled with Silhouette parameter assessment was used to select the most suitable combination of sensors for identification of drugs of abuse in presence of cutting agents.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Electrochemical and Analytical Sciences Lab (A-Sense Lab)
Impact Factor: 3.012
DOI: 10.1016/J.JELECHEM.2021.115770
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“Plasmonic gold-embedded TiO2 thin films as photocatalytic self-cleaning coatings”. Peeters H, Keulemans M, Nuyts G, Vanmeert F, Li C, Minjauw M, Detavernier C, Bals S, Lenaerts S, Verbruggen SW, Applied Catalysis B-Environmental 267, 118654 (2020). http://doi.org/10.1016/j.apcatb.2020.118654
Abstract: Transparent photocatalytic TiO2 thin films hold great potential in the development of self-cleaning glass sur-
faces, but suffer from a poor visible light response that hinders the application under actual sunlight. To alleviate this problem, the photocatalytic film can be modified with plasmonic nanoparticles that interact very effectively with visible light. Since the plasmonic effect is strongly concentrated in the near surroundings of the nano- particle surface, an approach is presented to embed the plasmonic nanostructures in the TiO2 matrix itself, rather than deposit them loosely on the surface. This way the interaction interface is maximised and the plasmonic effect can be fully exploited. In this study, pre-fabricated gold nanoparticles are made compatible with the organic medium of a TiO2 sol-gel coating suspension, resulting in a one-pot coating suspension. After spin coating, homogeneous, smooth, highly transparent and photoactive gold-embedded anatase thin films are ob- tained.
Keywords: A1 Journal article; Engineering sciences. Technology; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Sustainable Energy, Air and Water Technology (DuEL)
Impact Factor: 22.1
Times cited: 57
DOI: 10.1016/j.apcatb.2020.118654
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“Photon-based techniques for nondestructive subsurface analysis of painted cultural heritage artifacts”. Janssens K, Dik J, Cotte M, Susini J, Accounts of chemical research 43, 814 (2010). http://doi.org/10.1021/AR900248E
Abstract: Often, just micrometers below a paintings surface lies a wealth of information, both with Old Masters such as Peter Paul Rubens and Rembrandt van Rijn and with more recent artists of great renown such as Vincent Van Gogh and James Ensor. Subsurface layers may include underdrawing, underpainting, and alterations, and in a growing number of cases conservators have discovered abandoned compositions on paintings, illustrating artists practice of reusing a canvas or panel. The standard methods for studying the inner structure of cultural heritage (CH) artifacts are infrared reflectography and X-ray radiography, techniques that are optionally complemented with the microscopic analysis of cross-sectioned samples. These methods have limitations, but recently, a number of fundamentally new approaches for fully imaging the buildup of hidden paint layers and other complex three-dimensional (3D) substructures have been put into practice. In this Account, we discuss these developments and their recent practical application with CH artifacts. We begin with a tabular summary of 14 IR- and X-ray-based imaging methods and then continue with a discussion of each technique, illustrating CH applications with specific case studies. X-ray-based tomographic and laminographic techniques can be used to generate 3D renditions of artifacts of varying dimensions. These methods are proving invaluable for exploring inner structures, identifying the conservation state, and postulating the original manufacturing technology of metallic and other sculptures. In the analysis of paint layers, terahertz time-domain spectroscopy (THz-TDS) can highlight interfaces between layers in a stratigraphic buildup, whereas macrosopic scanning X-ray fluorescence (MA-XRF) has been employed to measure the distribution of pigments within these layers. This combination of innovative methods provides topographic and color information about the micrometer depth scale, allowing us to look into paintings in an entirely new manner. Over the past five years, several new variants of traditional IR- and X-ray-based imaging methods have been implemented by conservators and museums, and the first reports have begun to emerge in the primary research literature. Applying these state-of-the-art techniques in a complementary fashion affords a more comprehensive view of paintings and other artworks.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 20.268
Times cited: 78
DOI: 10.1021/AR900248E
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“Synchrotron-based X-ray absorption spectroscopy for art conservation: looking back and looking forward”. Cotte M, Susini J, Dik J, Janssens K, Accounts of chemical research 43, 705 (2010). http://doi.org/10.1021/AR900199M
Abstract: A variety of analytical techniques augmented by the use of synchrotron radiation (SR), such as X-ray fluorescence (SR-XRF) and X-ray diffraction (SR-XRD), are now readily available, and they differ little, conceptually, from their common laboratory counterparts. Because of numerous advantages afforded by SR-based techniques over benchtop versions, however, SR methods have become popular with archaeologists, art historians, curators, and other researchers in the field of cultural heritage (CH). Although the CH community now commonly uses both SR-XRF and SR-XRD, the use of synchrotron-based X-ray absorption spectroscopy (SR-XAS) techniques remains marginal, mostly because CH specialists rarely interact with SR physicists. In this Account, we examine the basic principles and capabilities of XAS techniques in art preservation. XAS techniques offer a combination of features particularly well-suited for the chemical analysis of works of art. The methods are noninvasive, have low detection limits, afford high lateral resolution, and provide exceptional chemical sensitivity. These characteristics are highly desirable for the chemical characterization of precious, heterogeneous, and complex materials. In particular, the chemical mapping capability, with high spatial resolution that provides information about local composition and chemical states, even for trace elements, is a unique asset. The chemistry involved in both the objects history (that is, during fabrication) and future (that is, during preservation and restoration treatments) can be addressed by XAS. On the one hand, many studies seek to explain optical effects occurring in historical glasses or ceramics by probing the molecular environment of relevant chromophores. Hence, XAS can provide insight into craft skills that were mastered years, decades, or centuries ago but were lost over the course of time. On the other hand, XAS can also be used to characterize unwanted reactions, which are then considered alteration phenomena and can dramatically alter the objects original visual properties. In such cases, the bulk elemental composition is usually unchanged. Hence, monitoring oxidation state (or, more generally, other chemical modifications) can be of great importance. Recent applications of XAS in art conservation are reviewed and new trends are discussed, highlighting the value (and future possibilities) of XAS, which remains, given its potential, underutilized in the CH community.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 20.268
Times cited: 74
DOI: 10.1021/AR900199M
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“Raman study of different crystalline forms of PbCrO4 and PbCr1-xSxO4 solid solutions for the noninvasive identification of chrome yellows in paintings : a focus on works by Vincent van Gogh”. Monico L, Janssens K, Hendriks E, Brunetti BG, Miliani C, Journal of Raman spectroscopy 45, 1034 (2014). http://doi.org/10.1002/JRS.4548
Abstract: Chrome yellows, a class of pigments frequently used by painters of the Impressionism and Post-impressionism period, are known for their different chemical stability; the latter depends on the chemical composition (PbCrO4, PbCr1-xSxO4) and crystalline structure (monoclinic or orthorhombic) of the material. The possibility to distinguish among different forms of this pigment is therefore relevant in order to extend knowledge on the corresponding degradation process that is observed on several original paintings. For this purpose, three paintings conserved at the Van Gogh Museum (Amsterdam) were analyzed using noninvasive Raman spectroscopy, while equivalent investigations employing bench-top instrumentation were performed to obtain information from micro-samples originating from these works of art. In each painting, the chrome yellow was identified either as monoclinic PbCrO4 or in the form of monoclinic PbCr1-xSxO4 (x<0.25) or S-rich orthorhombic PbCr1-xSxO4 (x similar to 0.5). Our ability to make this fairly subtle distinction is based on a Raman study of several oil paint model samples made up of monoclinic and/or orthorhombic crystalline forms of PbCrO4 and PbCr1-xSxO4 (0.1x0.8). These paints were studied using several excitation wavelengths (namely 785.0, 532.0, 514.5, and 488nm). Because of the absence of the resonance Raman effect, which strongly enhances the chromate symmetric stretching band, and the absence of any laser-induced photodecomposition, it is advantageous to acquire data at 785.0nm. The band-shape and the position of the chromate bending modes proved to be more sensitive to the solid solution composition and crystalline structure than the stretching modes and can be used as distinctive spectral markers to discriminate among the different chrome yellow forms that are present. Copyright (c) 2014 John Wiley & Sons, Ltd.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 2.969
Times cited: 34
DOI: 10.1002/JRS.4548
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“Micro-Raman analysis for the identification of pigments from 19th and 20th century paintings”. Aibéo CL, Goffin S, Schalm O, van der Snickt G, Laquière N, Eyskens P, Janssens K, Journal of Raman spectroscopy 39, 1091 (2008). http://doi.org/10.1002/JRS.1990
Abstract: In this article, results using confocal µ-Raman to analyse the cross-section of paint samples are presented. Results obtained with light microscopy, scanning electron microscopy (SEM) combined with an energy dispersive X-ray analysis (EDX) and micro-X-ray fluorescence (µ-XRF) are mentioned and compared to the ones obtained with confocal (MRS). In some cases, pigment identification was possible only by combining analytical results from different techniques. The samples were drawn from five paintings belonging to the Academy of Fine Arts of Antwerp, which are part of a collection of 34 paintings made by students from the Academy between 1819 and 1920. Since, on the one hand, the painting techniques and materials, especially pigments, used in this period are still not completely known, and on the other hand, this collection constitutes a very important and reliable resource of information, these paintings were chosen for a systematic investigation. They represent the evolution of painting in Belgium over approximately a century.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 2.969
Times cited: 28
DOI: 10.1002/JRS.1990
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“In vitro validation of a mobile Raman-XRF micro-analytical instrument's capabilities on the diagnosis of Byzantine icons”. Andrikopoulos KS, Daniilia S, Roussel B, Janssens K, Journal of Raman spectroscopy 37, 1026 (2006). http://doi.org/10.1002/JRS.1612
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 2.969
Times cited: 53
DOI: 10.1002/JRS.1612
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