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“Absorption correction via scattered radiation in energy-dispersive X-ray fluorescence analysis for samples of variable composition and thickness”. Van Dyck PM, Van Grieken RE, Analytical chemistry 52, 1859 (1980). http://doi.org/10.1021/AC50062A020
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC50062A020
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“Enhancement effect in X-ray fluorescence analysis of environmental samples of medium thickness”. Van Dyck PM, Török SB, Van Grieken RE, Analytical chemistry 58, 1761 (1986). http://doi.org/10.1021/AC00121A036
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC00121A036
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“Automated energy-dispersive X-ray fluorescence analysis for diverse environmental samples”. Van Dyck P, Van Grieken R page 315 (1982).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Automated matrix-correction of line ratios in energy-dispersive x-ray fluorescence spectrum deconvolution”. Van Dyck P, Van Grieken R, X-ray spectrometry 12, 111 (1983). http://doi.org/10.1002/XRS.1300120306
Abstract: Most computer XRF-spectrum deconvolution routines make use of fixed intensity ratios for the lines from one element. The magnitude of the error that fixed ratios imply has been quantitatively evaluated for samples with a varible thickness or matrix. A procedure for routinely adapting the line ratios according to the matrix effect in every sample (by making use of the matrix information present in the scatter peaks) enhances the accuracy of the spectrum evaluation.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1002/XRS.1300120306
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“Monte Carlo simulation of backscattered peaks in secondary target energy-dispersive X-ray spectra”. Van Dyck P, Török S, Van Grieken R, X-ray spectrometry 15, 231 (1986). http://doi.org/10.1002/XRS.1300150403
Abstract: A Monte Carlo simulation has been developed to describe the incoherent and coherent scatter processes for the complex geometry of a secondary target energy-dispersive x-ray fluorescence system. Photons are followed from the x-ray tube anode until the detection of scattered secondary target photons in the active Si layer of the detector. The program quantitatively shows the broadening of the incoherent scatter peak with increasing atomic number, and it models the incoherent peak shape adequately. The incoherent-to-coherent scatter intensity ratios obtained differ by 1030% from the theoretical values, while their dependence on the sample atomic number corresponds to that expected from theory.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1002/XRS.1300150403
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“Automated quantitative electron-microprobe analysis of particulate material”. Van Dyck P, Storms H, Van Grieken R, Journal de physique 45, 781 (1984). http://doi.org/10.1051/JPHYSCOL:19842179
Abstract: An automated electron microprobe, equipped with an energy-dispersive X-ray spectrometer and an additional backscattered electron signal digitalization system, can allow rapid sizing and major element analysis on numerous particles. A software package has been developed to exploit the particle size and shape information to achieve quantitative analysis of single particles, and to compare the performance of the different matrix correction procedures.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1051/JPHYSCOL:19842179
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“Automatic absorption correction in x-ray fluorescence analysis of intermediate thickness samples using a dual external reference signal”. Van Dyck P, Markowicz A, Van Grieken R, X-ray spectrometry 9, 70 (1980). http://doi.org/10.1002/XRS.1300090209
Abstract: A method has been investigated which allows calculations from the X-ray fluorescence spectra of the absorption coefficients at any energy for any sample, without any additional measurement. Use is made of the ratio of the characteristic X-ray signals from a Zr wire positioned in front of the sample and from a Pd foil placed behind the sample, both in a fixed geometry. From the experimentally measured absorption coefficient at the Pd L energy (2.9 keV), the coefficients for higher energies are calculated. By the use of an iterative computer routine in which corrections for the enhancement of the Pd foil by the sample are also included, an accuracy of 2% or better on the absorption coefficient determination can be reached for homogenous samples in one measurement. Grain-size and heterogeneity effects induce inaccuracies on the absorption coefficient determinations which might well reach 20% for particulate samples like intermediate thickness deposits of geological materials. This approach thus has the same limitations as the classical transmission method for such heterogeneous samples.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1002/XRS.1300090209
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“Influence of sample thickness, excitation energy and geometry on particle size effects in XRF”. Van Dyck P, Markowicz A, Van Grieken R, X-ray spectrometry 14, 183 (1985). http://doi.org/10.1002/XRS.1300140409
Abstract: Expressions are presented for calculating the matrix effect and the pure particle size effect in the XRF analysis of particulate samples with a discrete particle size. The equations are based on the absorption-weighted radiometric diameter concept. Two excitationdetection geometries are considered, with the angles between the sample plane and both the incident and emerging radiation being either 90° (π geometry) or 45° (π/2 geometry). Calculations were made for different sample loadings and exciting radiation energies. The influence of these parameters on the matrix and pure particle size effects is shown. From the results, it is possible to predict the performances of alternative experimental correction procedures for the particle size effect, involving dual measurements at different excitation energies or in different excitationdetection geometries.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1002/XRS.1300140409
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“Spectrometric determination of silicon in food and biological samples: an interlaboratory trial”. van Dyck K, Robberecht H, van Cauwenbergh R, Deelstra H, Arnaud J, Willemyns L, Benijts F, Centeno JA, Taylor H, Soares ME, Bastos ML, Ferreira MA, d'Haese PC, Lamberts LV, Hoenig M, Knapp G, Lugowski SJ, Moens L, Riondato J, Van Grieken R, Claes M, Verheyen R, Clement L, Uytterhoeven M, Journal of analytical atomic spectrometry 15, 735 (2000). http://doi.org/10.1039/B000572J
Abstract: Accuracy and precision of silicon determination in biological matrices (serum, urine, water, beer and spinach) by spectrometric techniques (when necessary after acid destruction) were assessed by means of a collaborative interlaboratory trial. The trial was set up in accordance with ISO 5725-2 (1994). The relative overall repeatability standard deviation was acceptable. It varied between 4% for spinach powder (mean content: 176 mg kg(-1)) and 11% for serum (mean content: 5.33 mg L-1). On the other hand, the relative overall between-laboratory standard deviation was found to vary from a satisfactorily 15% for spinach after destruction (mean content: 3.32 mg L-1) to an unacceptable 107% for spinach powder (mean content: 176 mg kg(-1)). The overall conclusion of the trial was that silicon determination in biological matrices can properly be performed by spectrometric techniques. However, when sample pretreatment (i.e., acid destruction) is needed prior to silicon determination problems still remain.
Keywords: A1 Journal article; Behavioural Ecology & Ecophysiology; Pathophysiology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1039/B000572J
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“Young Anthony van Dyck revisited : a multidisciplinary approach to a portrait once attributed to Peter Paul Rubens”. Van der Stighelen K, Janssens K, van der Snickt G, Alfeld M, Van Beneden B, Demarsin B, Proesmans M, Marchal G, Dik J, Art matters : international journal for technical art history 6, 21 (2014)
Abstract: Part of the collection of the Rubens House in Antwerp is a portrait of young Anthony van Dyck, alternatively attributed to Peter Paul Rubens and his pupil Anthony van Dyck. In order to reconstruct the genesis of the portrait in a manner that improves upon past investigations, a number of high-end technological methods, such as X-radiography, X-ray computer tomography, mammographic tomosynthesis and macroscopic X-ray fluorescence, have been employed to render the overpainted layers visible again. The results of the interdisciplinary examinations of the portrait of the youthful Van Dyck are impressive. The combined results allow the later additions to be peeled away until the original composition can be reached. Several pentimenti are easily discernible and refer to a rather immature hand that makes the authorship of Peter Paul Rubens very unlikely. What emerges is a portrait of an ambitious young man with a luxuriant head of hair and a slightly turned-up collar. The hat and cape were added later. The facial features are more recognisable and the execution of the bold curls points irrefutably in the direction of Anthony van Dyck as the author of his own portrait.
Keywords: A3 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Blue enamel on sixteenth- and seventeenth-century window glass : deterioration, microstructure, composition and preparation”. van der Snickt G, Schalm O, Caen J, Janssens K, Schreiner M, Studies in conservation 51, 212 (2006). http://doi.org/10.1179/SIC.2006.51.3.212
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 0.578
Times cited: 8
DOI: 10.1179/SIC.2006.51.3.212
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“Material analyses of “Christ with singing and music-making Angels”, a late 15th-C panel painting attributed to Hans Memling and assistants : part 1 : non-invasive in situ investigations”. van der Snickt G, Miliani C, Janssens K, Brunetti BG, Romani A, Rosi F, Walter P, Castaing J, de Nolf W, Klaassen L, Labarque I, Wittermann R, Journal of analytical atomic spectrometry 26, 2216 (2011). http://doi.org/10.1039/C1JA10073D
Abstract: In cultural heritage science, compositional data is traditionally obtained from works of art through the analysis of samples by means of various bench-top instruments (scanning electron microscope, Raman spectrometer, etc.). Alternatively, the object can be transported to a laboratory where it may be examined, usually by spectroscopic methods working in reflection mode. However, this paper describes how a complementary set of mobile and portable instruments was deployed in situ to gain a comprehensive view on the materials and related ageing compounds of an (almost) unmovable 15th-C polyptych, prior to and in preparation of the extraction of a limited number of samples. In line with the methodological approach discussed, PXRF was first employed as an efficient screening tool. The ensuing elemental data was supplemented by more specific information on both organic as inorganic materials supplied by reflection near- and mid-FTIR spectroscopy and fluorimetry. In completion, a limited number of diffraction patterns were collected with a mobile XRD instrument in order to identify the constituent crystalline phases in pigments, grounding materials and degradation products. In this way, it could be demonstrated how a rich array of colours was obtained by means of a limited palette of pigments: lead white, lead tin yellow, azurite, natural ultramarine, bone black, vermillion, madder lake, and a green copper-organo complex were detected and situated on the panels. Remarkably, next to chalk also gypsum was found in the ground layer(s) of this Western European easel painting. The relatively large surface of the background was covered with gold leaf; the analyses seem to point towards the labour-intensive water gilding technique. The versatility of this combination of analytical techniques was further illustrated by the accurate characterisation of degradation products affecting the readability and conservation of the painting: the overall presence of a calcium oxalate-based film of variable thickness was established. Nevertheless, further analysis of cross-sectioned samples was considered desirable in order to study the stratigraphy, to gain direct access to altered and sub-imposed layers and to allow highly detailed analysis of micrometric degradation products by state-of-the art techniques (i.e. synchrotron radiation).
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.379
Times cited: 32
DOI: 10.1039/C1JA10073D
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“Exploring a hidden painting below the surface of Rene Magritte's Le Portrait”. van der Snickt G, Martins A, Delaney J, Janssens K, Zeibel J, Duffy M, McGlinchey C, Van Driel B, Dik J, Applied spectroscopy 70, 57 (2016). http://doi.org/10.1177/0003702815617123
Abstract: Two state-of-the-art methods for non-invasive visualization of subsurface (or overpainted) pictorial layers present in painted works of art are employed to study Le portrait, painted by Belgian artist Rene Magritte in 1935. X-ray radiography, a commonly used method for the nondestructive inspection of paintings, had revealed the presence of an underlying figurative composition, part of an earlier Magritte painting entitled La pose enchantee (1927) which originally depicted two full length nude female figures with exaggerated facial features. On the one hand, macroscopic X-ray fluorescence analysis (MA-XRF), a method capable of providing information on the distribution of the key chemical elements present in many artists' pigments, was employed. The ability of the X-rays to penetrate the upper layer of paint enabled the imaging of the facial features of the female figure and provided information on Magritte's palette for both surface and hidden composition. On the other hand, visible and near infrared hyperspectral imaging spectroscopies in transmission mode were also used, especially in the area of the table cloth in order to look through the upper representation and reveal the pictorial layer(s) below. MA-XRF provided elemental information on the pigment distributions in both the final painting and the prior whereas the transmission mode provided information related to preparatory sketches as well as revealing differences between the paints used in both compositions. These results illustrate very well the manner in which the two imaging methods complement each other, both in the sense of providing different types of information on the nature and presence of paint components/pigments and in the sense of being optimally suited to easily penetrate through different types of overpaint.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.529
Times cited: 13
DOI: 10.1177/0003702815617123
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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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“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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“James Ensor's pigment use: artistic and material evolution studied by means of portable X-ray fluorescence spectrometry”. van der Snickt G, Janssens K, Schalm O, Aibéo C, Kloust H, Alfeld M, X-ray spectrometry 39, 103 (2010). http://doi.org/10.1002/XRS.1235
Abstract: In this paper, portable X-ray fluorescence spectrometry (PXRF) was employed as a screening tool for determining and comparing the pigment use in a large series of paintings by the Belgian artist James Ensor (1860-1949). Benefits and drawbacks of PXRF as a method, and the instrument employed, are discussed from a practical, conservation and instrumental perspective. Regardless of several restrictions due to the set-up and/or the analytical method, it appeared feasible to document the evolution with time in Ensor's use of inorganic pigments and to correlate this technical evolution with stylistic developments, Nevertheless, it became clear that a full identification of all materials present can only be done by means of the analysis of (cross-sectioned) samples.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.298
Times cited: 25
DOI: 10.1002/XRS.1235
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“Combined use of synchrotron radiation based micro-X-ray fluorescence, micro-X-ray diffraction, micro-X-ray absorption near-edge, and micro-fourier transform infrared spectroscopies for revealing an alternative degradation pathway of the pigment cadmium yellow in a painting by Van Gogh”. van der Snickt G, Janssens K, Dik J, de Nolf W, Vanmeert F, Jaroszewicz J, Cotte M, Falkenberg G, Van der Loeff L, Analytical chemistry 84, 10221 (2012). http://doi.org/10.1021/AC3015627
Abstract: Over the past years a number of studies have described the instability of the pigment cadmium yellow (CdS). In a previous paper we have shown how cadmium sulfide on paintings by James Ensor oxidizes to CdSO4 center dot H2O. The degradation process gives rise to the fading of the bright yellow color and the formation of disfiguring white crystals that are present on the paint surface in approximately 50 mu m sized globular agglomerations. Here, we study cadmium yellow in the painting “Flowers in a blue vase” by Vincent van Gogh. This painting differs from the Ensor case in the fact that (a) a varnish was superimposed onto the degraded paint surface and (b) the CdS paint area is entirely covered with an opaque crust. The latter obscures the yellow color completely and thus presents a seemingly more advanced state of degradation. Analysis of a cross-sectioned and a crushed sample by combining scanning microscopic X-ray diffraction (mu-XRD), microscopic X-ray absorption near-edge spectroscopy (mu-XANES), microscopic X-ray fluorescence (mu-XRF) based chemical state mapping and scanning microscopic Fourier transform infrared (mu-FT-IR) spectrometry allowed unravelling the complex alteration pathway. Although no crystalline CdSO4 compounds were identified on the Van Gogh paint samples, we conclude that the observed degradation was initially caused by oxidation of the original CdS pigment, similar as for the previous Ensor case. However, due to the presence of an overlying varnish containing lead-based driers and oxalate ions, secondary reactions took place. In particular, it appears that upon the photoinduced oxidation of its sulfidic counterion, the Cd2+ ions reprecipitated at the paint/varnish interface after having formed a complex with oxalate ions that themselves are considered to be degradation products of the resin and/or oil in the varnish. The SO42- anions, for their part, found a suitable reaction partner in Pb2+ ions stemming from a dissolved lead-based siccative that was added to the varnish to promote its drying. The resulting opaque anglesite compound in the varnish, in combination with the underlying CdC2O4 layer at the paint/varnish interface, account for the orange-gray crust that is disfiguring the painting on a macroscopic level. In this way, the results presented in this paper demonstrate how, through a judicious combined use of several microanalytical methods with speciation capabilities, many new insights can be obtained from two minute, but highly complex and heterogeneous paint samples.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 59
DOI: 10.1021/AC3015627
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“Large-area elemental imaging reveals Van Eyck's original paint layers on the Ghent altarpiece (1432), rescoping its conservation treatment”. van der Snickt G, Dubois H, Sanyova J, Legrand S, Coudray A, Glaude C, Postec M, van Espen P, Janssens K, Angewandte Chemie: international edition in English 56, 4797 (2017). http://doi.org/10.1002/ANIE.201700707
Abstract: A combination of large-scale and micro-scale elemental imaging, yielding elemental distribution maps obtained by, respectively non-invasive macroscopic X-ray fluorescence (MA-XRF) and by secondary electron microscopy/energy dispersive X-ray analysis (SEM-EDX) and synchrotron radiation-based micro-XRF (SR m-XRF) imaging was employed to reorient and optimize the conservation strategy of van Eyck's renowned Ghent Altarpiece. By exploiting the penetrative properties of X-rays together with the elemental specificity offered by XRF, it was possible to visualize the original paint layers by van Eyck hidden below the overpainted surface and to simultaneously assess their condition. The distribution of the high-energy Pb-L and Hg-L emission lines revealed the exact location of hidden paint losses, while Fe-K maps demonstrated how and where these lacunae were filled-up using an iron-containing material. The chemical maps nourished the scholarly debate on the overpaint removal with objective, chemical arguments, leading to the decision to remove all skillfully applied overpaints, hitherto interpreted as work by van Eyck. MA-XRF was also employed for monitoring the removal of the overpaint during the treatment phase. To gather complementary information on the in-depth layer build-up, SEM-EDX and SR mu-XRF imaging was used on paint cross sections to record microscale elemental maps.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 11.994
Times cited: 11
DOI: 10.1002/ANIE.201700707
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“Dual mode standoff imaging spectroscopy documents the painting process of the Lamb of God in the Ghent Altarpiece by J. and H. Van Eyck”. van der Snickt G, Dooley KA, Sanyova J, Dubois H, Delaney JK, Gifford EM, Legrand S, Laquiere N, Janssens K, Science Advances 6, eabb3379 (2020). http://doi.org/10.1126/SCIADV.ABB3379
Abstract: The ongoing conservation treatment program of the Ghent Altarpiece by Hubert and Jan Van Eyck, one of the iconic paintings of the west, has revealed that the designs of the paintings were changed several times, first by the original artists, and then during later restorations. The central motif, The Lamb of God, representing Christ, plays an essential iconographic role, and its depiction is important. Because of the prevalence of lead white, it was not possible to visualize the Van Eycks' original underdrawing of the Lamb, their design changes, and the overpaint by later restorers with a single spectral imaging modality. However, by using elemental (x-ray fluorescence) and molecular (infrared reflectance) imaging spectroscopies, followed by analysis of the resulting data cubes, the necessary chemical contrast could be achieved. In this way, the two complementary modalities provided a more complete picture of the development and changes made to the Lamb.
Keywords: A1 Journal article; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Impact Factor: 13.6
DOI: 10.1126/SCIADV.ABB3379
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“Characterization of a degraded cadmium yellow (CdS) pigment in an oil painting by means of synchrotron radiation based X-ray techniques”. van der Snickt G, Dik J, Cotte M, Janssens K, Jaroszewicz J, de Nolf W, Groenewegen J, van der Loeff L, Analytical chemistry 81, 2600 (2009). http://doi.org/10.1021/AC802518Z
Abstract: On several paintings of James Ensor (1860−1949), a gradual fading of originally bright yellow areas, painted with the pigment cadmium yellow (CdS), is observed. Additionally, in some areas exposed to light, the formation of small white-colored globules on top of the original paint surface is observed. In this paper the chemical transformation leading to the color change and to the formation of the globules is elucidated. Microscopic X-ray absorption near-edge spectroscopy (ì-XANES) experiments show that sulfur, originally present in sulfidic form (S2−), is oxidized during the transformation to the sulfate form (S6+). Upon formation (at or immediately below the surface), the highly soluble cadmium sulfate is assumed to be transported to the surface in solution and reprecipitates there, forming the whitish globules. The presence of cadmium sulfate (CdSO4·2H2O) and ammonium cadmium sulfate [(NH4)2Cd(SO4)2] at the surface is confirmed by microscopic X-ray diffraction measurements, where the latter salt is suspected to result from a secondary reaction of cadmium sulfate with ammonia. Measurements performed on cross sections reveal that the oxidation front has penetrated into the yellow paint down to ca. 1−2 ìm. The morphology and elemental distribution of the paint and degradation product were examined by means of scanning electron microscopy equipped with an energy-dispersive spectrometer (SEM-EDS) and synchrotron radiation based micro-X-ray fluorescence spectrometry (SR ì-XRF). In addition, ultraviolet-induced visible fluorescence photography (UIVFP) revealed itself to be a straightforward technique for documenting the occurrence of this specific kind of degradation on a macroscale by painting conservators.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 91
DOI: 10.1021/AC802518Z
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“μ-XRF/μ-RS vs. SR μ-XRD for pigment identification in illuminated manuscripts”. van der Snickt G, de Nolf W, Vekemans B, Janssens K, Applied physics A : materials science &, processing 92, 59 (2008). http://doi.org/10.1007/S00339-008-4447-9
Abstract: For the non-destructive identification of pigments and colorants in works of art, in archaeological and in forensic materials, a wide range of analytical techniques can be used. Bearing in mind that every method holds particular limitations, two complementary spectroscopic techniques, namely confocal ì-Raman spectroscopy (ì-RS) and ì-X-ray fluorescence spectroscopy (ì-XRF), were joined in one instrument. The combined ì-XRF and ì-RS device, called PRAXIS unites both complementary techniques in one mobile setup, which allows ì- and in situ analysis. ì-XRF allows one to collect elemental and spatially-resolved information in a non-destructive way on major and minor constituents of a variety of materials. However, the main disadvantages of ì-XRF are the penetration depth of the X-rays and the fact that only elements and not specific molecular combinations of elements can be detected. As a result ì-XRF is often not specific enough to identify the pigments within complex mixtures. Confocal Raman microscopy (ì-RS) can offer a surplus as molecular information can be obtained from single pigment grains. However, in some cases the presence of a strong fluorescence background limits the applicability. In this paper, the concrete analytical possibilities of the combined PRAXIS device are evaluated by comparing the results on an illuminated sheet of parchment with the analytical information supplied by synchrotron radiation ì-X-ray diffraction (SR ì-XRD), a highly specific technique.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.455
Times cited: 56
DOI: 10.1007/S00339-008-4447-9
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“The SALUT project : study of advanced laser techniques for the uncovering of polychromed works of art”. van der Snickt G, de Boeck A, Keutgens K, Anthierens D, 116, 151 (2007)
Abstract: In order to find out whether the existing laser systems can be employed to remove superimposed layers of paint on secco wall paintings in a selective way, laser tests were carried out on three types of prepared samples simulating three stratigraphies that are frequently encountered in practice. OM, EPMA, colorimetry, mu Raman, and FT-IR were used to evaluate the results. It was found that Q-switched Nd:YAG lasers emitting at 1,064 nm could be employed to remove unwanted layers of oil paint and limewash, but the treatment of large areas requires implementation of a computer-controlled X-Y-Z station in order to control the parameters. However, the applicability of this technique will remain limited as ablation at the established optimum parameters implied a discoloration of the pigments cinnabar, yellow ochre, and burnt sienna. Moreover, it was observed that no ablation took place when the limewash thickness exceeds 25 mu m. Unwanted layers of acrylic could be removed in an efficient way with an excimer laser emitting at 193 nm.
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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van der Snickt G (2012) James Ensor's pigments studied by means of portable and synchrotron radiation-based X-ray techniques : evolution, context and degradation. 501 p
Keywords: Doctoral thesis; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Analysis of micro computed tomography images, a look inside historic enamelled metal objects”. van der Linden V, Van de Casteele E, Thomas MS, de Vos A, Janssen E, Janssens K, Applied physics A : materials science &, processing 98, 385 (2010). http://doi.org/10.1007/S00339-009-5394-9
Abstract: In this study the usefulness of micro-Computed Tomography (µ-CT) for the in-depth analysis of enamelled metal objects was tested. Usually investigations of enamelled metal artefacts are restricted to non-destructive surface analysis or analysis of cross sections after destructive sampling. Radiography, a commonly used technique in the field of cultural heritage studies, is limited to providing two-dimensional information about a three-dimensional object (Lang and Middleton, Radiography of Cultural Material, pp. 6061, Elsevier-Butterworth-Heinemann, Amsterdam-Stoneham-London, 2005). Obtaining virtual slices and information about the internal structure of these objects was made possible by CT analysis. With this technique the underlying metal work was studied without removing the decorative enamel layer. Moreover visible defects such as cracks were measured in both width and depth and as of yet invisible defects and weaker areas are visualised. All these features are of great interest to restorers and conservators as they allow a view inside these objects without so much as touching them.
Keywords: A1 Journal article; Vision lab; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.455
Times cited: 3
DOI: 10.1007/S00339-009-5394-9
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“Chemical analysis of 16th to 19th century Limoges School painted enamel objects in three museums of the Low Countries”. van der Linden V, Schalm O, Houbraken J, Thomas M, Meesdom E, Devos A, van Dooren R, Nieuwdorp H, Janssen E, Janssens K, X-ray spectrometry 39, 112 (2010). http://doi.org/10.1002/XRS.1207
Abstract: In this study, the results of analysing of a series of 16th-19th century painted enamel objects of the Limoges School currently in collections in three Dutch and Flemish museums by means of portable and micro x-ray fluorescence analysis (PXRF and µ-XRF) and electron probe micro analysis (EPMA) are presented. The aim of the investigation was the authentication of specific pieces. Therefore, the glass compositions as well as the (glass) colouring agents used by the Limoges' artists were studied as a function of the age of the objects. Due to the evolution of these properties, it is possible to approximately date these objects based on their chemical composition. The complete émail peint collection of the Museum Boijmans-Van Beuningen (Rotterdam, The Netherlands), consisting of 20 émail peint plaques, was analysed with µ-XRF. Quantitative information was obtained by EPMA analysis of 15 enamel fragments of objects from museum and private collections in the Low Countries. PXRF analyses were performed on the painted enamel collection of the Antwerp Vleeshuis Museum (13 objects) and the Mayer van den Bergh Museum (4 objects) and on a set of 18 plaques that were donated to the Boijmans-Van Beuningen Museum by a private collector. The results obtained by means of EPMA, µ-XRF and PXRF proved to be useful in the discrimination of 16th century painted enamel objects from those of the19th century. From a total of 70 objects examined, 2 objects (OM964A and OM993) featured a chemical signature that deviated from the published literature composition and pigment use consistent with its presumed period of manufacture.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.298
Times cited: 8
DOI: 10.1002/XRS.1207
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“PXRF, \mu-XRF, vacuum \mu-XRF, and EPMA analysis of Email Champlevé, objects present in Belgian museums”. van der Linden V, Meesdom E, Devos A, van Dooren R, Nieuwdorp H, Janssen E, Balace S, Vekemans B, Vincze L, Janssens K, Microscopy and microanalysis 17, 674 (2011). http://doi.org/10.1017/S1431927611011950
Abstract: The enamel of 20 Email Champlevé objects dating between the 12th and 19th centuries was investigated by means of microscopic and portable X-ray fluorescence analysis (μ-XRF and PXRF). Seven of these objects were microsampled and the fragments were analyzed with electron probe microanalysis (EPMA) and vacuum μ-XRF to obtain quantitative data about the composition of the glass used to produce these enameled objects. As a result of the evolution of the raw materials employed to produce the base glass, three different compositional groups could be discriminated. The first group consisted of soda-lime-silica glass with a sodium source of mineral origin (with low K content) that was opacified by addition of calcium antimonate crystals. This type of glass was only used in objects made in the 12th century. Email Champlevé objects from the beginning of the 13th century onward were enameled with soda-lime-silica glass with a sodium source of vegetal origin. This type of glass, which has a higher potassium content, was opacified with SnO2 crystals. The glass used for 19th century Email Champlevé artifacts was produced with synthetic and purified components resulting in a different chemical composition compared to the other groups. Although the four analytical techniques employed in this study have their own specific characteristics, they were all found to be suitable for classifying the objects into the different chronological categories.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.891
Times cited: 9
DOI: 10.1017/S1431927611011950
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“Deeply coloured and black glass in the Northern provinces of the Roman Empire : differences and similarities in chemical composition before and after AD 150”. van der Linden V, Cosyns P, Schalm O, Cagno S, Nys K, Janssens K, Nowak A, Wagner B, Bulska E, Archaeometry 51, 822 (2009). http://doi.org/10.1111/J.1475-4754.2008.00434.X
Abstract: In this work we attempt to elucidate the chronological and geographical origin of deeply coloured and black glass dating between 100 bc and ad 300 on the basis of their major and trace element compositions. Samples from the western and eastern parts of the Roman Empire were analysed. Analytical data were obtained by means of a scanning electron microscope – energy-dispersive system (SEM-EDS, 63 samples analysed) and laser ablation – inductively coupled plasma – mass spectrometry (LA-ICP-MS, 41 samples analysed). Among the glass fragments analysed, dark brown, dark purple and dark green hues could be distinguished. Only among the dark green fragments could a clear compositional distinction be observed between fragments dated to the periods before and after ad 150. In the early samples (first century bc to first century ad), iron, responsible for the green hue, was introduced by using impure sand containing relatively high amounts of Ti. In contrast, a Ti-poor source of iron was employed, containing Sb, Co and Pb in trace quantities, in order to obtain the dark green colour in the later glass samples. The analytical results obtained by combining SEM-EDS and LA-ICP-MS are therefore consistent with a differentiation of glassmaking recipes, detectable in glass composition, occurring in the period around ad 150.
Keywords: A1 Journal article; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 1.47
Times cited: 39
DOI: 10.1111/J.1475-4754.2008.00434.X
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“Compositional analysis of 17-18th century archaeological glass fragments, excavated in Mechelen, Belgium: comparison with data from neighboring cities in the Low Countries”. van der Linden V, Bultinck E, de Ruytter J, Schalm O, Janssens K, Devos W, Tiri W, Nuclear instruments and methods in physics research: B: beam interactions with materials and atoms 239, 100 (2005). http://doi.org/10.1016/j.nimb.2005.06.219
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Plasma Lab for Applications in Sustainability and Medicine – Antwerp (PLASMANT)
Impact Factor: 1.109
Times cited: 15
DOI: 10.1016/j.nimb.2005.06.219
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“Polydopamine-gelatin as universal cell-interactive coating for methacrylate-based medical device packaging materials : when surface chemistry overrules substrate bulk properties”. Van de Walle E, Van Nieuwenhove I, Vanderleyden E, Declercq H, Gellynck K, Schaubroeck D, Ottevaere H, Thienpont H, De Vos WH, Cornelissen M, Van Vlierberghe S, Dubruel P, Biomacromolecules 17, 56 (2016). http://doi.org/10.1021/ACS.BIOMAC.5B01094
Abstract: Despite its widespread application in the fields of ophthalmology, orthopedics and dentistry and the stringent need for polymer packagings that induce in vivo tissue integration, the full potential of poly(methyl methacrylate) (PMMA) and its derivatives as medical device packaging material has not been explored yet. We therefore elaborated on the development of a universal coating for methacrylate-based materials which ideally should reveal cell-interactivity irrespective of the polymer substrate bulk properties. Within this perspective, the present work reports on the UV-induced synthesis of PMMA and its more flexible poly(ethyleneglycol) (PEG)-based derivative (PMMAPEG) and its subsequent surface decoration using polydopamine (PDA) as well as PDA combined with gelatin B (Gel B). Successful application of both layers was confirmed by multiple surface characterization techniques. The cell interactivity of the materials was studied by performing live-dead assays and immunostainings of the cytoskeletal components of fibroblasts. It can be concluded that only the combination of PDA and Gel B yields materials posessing similar cell interactivities, irrespective of the physicochemical properties of the underlying substrate. The proposed coating outperforms both the PDA functionalized and the pristine polymer surfaces. A universal cell-interactive coating for methacrylate-based medical device packaging materials has thus been realized.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/ACS.BIOMAC.5B01094
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“Study of a unique 16th century Antwerp majolica floor in the Rameyenhof castle's chapel by means of X-ray fluorescence and portable Raman analytical instrumentation”. Van de Voorde L, Vandevijvere M, Vekemans B, Van Pevenage J, Caen J, Vandenabeele P, van Espen P, Vincze L, Spectrochimica acta: part B : atomic spectroscopy 102, 28 (2014). http://doi.org/10.1016/J.SAB.2014.10.007
Abstract: The most unique and only known 16th century Antwerp majolica tile floor in Belgium is situated in a tower of the Rameyenhof castle (Gestel, Belgium). This exceptional work of art has recently been investigated in situ by using X-ray fluorescence (XRF) and Raman spectroscopy in order to study the material characteristics. This study reports on the result of the analyses based on the novel combination of non-destructive and portable instrumentation, including a handheld XRF spectrometer for obtaining elemental information and a mobile Raman spectrometer for retrieving structural and molecular information on the floor tiles in the Rameyenhof castle and on a second, similar medallion, which is stored in the Rubens House museum in Antwerp (Belgium). The investigated material, majolica, is a type of ceramic, which fascinated many people and potters throughout history by its beauty and colourful appearance. In this study the characteristic major/minor and trace element signature of 16th century Antwerp majolica is determined and the pigments used for the colourful paintings present on the floor are identified. Furthermore, based on the elemental fingerprint of the white glaze, and in particular on the presence of zinc in the tiles – an element that was not used for making 16th century majolica – valuable information about the originality of the chapel floor and the two central medallions is acquired. (C) 2014 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1016/J.SAB.2014.10.007
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