| Records |
| Author |
De Keyser, N.; Broers, F.T.H.; Vanmeert, F.; van Loon, A.; Gabrieli, F.; De Meyer, S.; Gestels, A.; Gonzalez, V.; Hermens, E.; Noble, P.; Meirer, F.; Janssens, K.; Keune, K. |
| Title |
Discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's The Night Watch : analytical study and historical contextualization |
Type |
A1 Journal article |
| Year |
2024 |
Publication |
Heritage science |
Abbreviated Journal |
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| Volume |
12 |
Issue |
1 |
Pages |
237-20 |
| Keywords |
A1 Journal article; Art; Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
This article reports on the discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's masterpiece The Night Watch. A large-scale research project named Operation Night Watch was started in 2019. A variety of non-invasive analytical imaging techniques, together with paint sample research, has provided new information about Rembrandt's pigments, materials, and techniques as well as the current condition of the painting. Macroscopic X-ray fluorescence, macroscopic X-ray powder diffraction and reflectance imaging spectroscopy identified the presence of arsenic sulfide pigments and degradation products of these pigments in the doublet sleeves and embroidered buff coat worn by Lieutenant Willem van Ruytenburch (central figure to the right of Captain Frans Banninck Cocq). Examination by light microscopy of two paint samples taken from this area shows a mixture of large sharp-edged tabular yellow and orange to red pigment particles, and scanning electron microscopy-energy dispersive X-ray analysis identified these particles as containing arsenic and sulfur. Using micro-Raman spectroscopy, the yellow particles were identified as pararealgar, and the orange to red particles as semi-amorphous pararealgar. Synchrotron-based X-ray diffraction allowed visualization of the presence of multiple degradation products associated with arsenic sulfides throughout the paint layer. The discovery of pararealgar and semi-amorphous pararealgar is a new addition to Rembrandt's pigment palette. To contextualize our findings and to hypothesize why, how, and where Rembrandt obtained the pigments, we studied related historical sources. A comprehensive review of historical sources gives insight into the types of artificial arsenic sulfides that were available and suggests that a broader range of arsenic pigments could have been available in Amsterdam in the seventeenth century than previously thought. This is supported by the use of a very similar mixture of pigments by Willem Kalf (1619-1693), a contemporary artist based in Amsterdam. Together with the condition of the particles in the paint cross sections, this brings us to the conclusion that Rembrandt intentionally used pararealgar and semi-amorphous pararealgar, together with lead-tin yellow and vermilion, to create an orange paint. |
| Address |
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| Corporate Author |
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Thesis |
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| Publisher |
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Place of Publication |
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Editor |
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| Language |
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Wos |
https://www.webofscience.com/api/gateway?GWVersion=2&SrcApp=brocade2&SrcAuth=WosAPI&KeyUT=WOS:001270 |
Publication Date |
2024-07-11 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
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Series Issue |
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Edition |
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| ISSN |
2050-7445 |
ISBN |
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Additional Links |
UA library record; WoS full record |
| Impact Factor |
2.5 |
Times cited |
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Open Access  |
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| Notes |
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Approved |
Most recent IF: 2.5; 2024 IF: NA |
| Call Number |
UA @ admin @ c:irua:207665 |
Serial |
9284 |
| Permanent link to this record |
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| Author |
De Keyser, N.; Broers, F.; Vanmeert, F.; De Meyer, S.; Gabrieli, F.; Hermens, E.; van der Snickt, G.; Janssens, K.; Keune, K. |
| Title |
Reviving degraded colors of yellow flowers in 17th century still life paintings with macro- and microscale chemical imaging |
Type |
A1 Journal article |
| Year |
2022 |
Publication |
Science Advances |
Abbreviated Journal |
|
| Volume |
8 |
Issue |
23 |
Pages |
1-12 |
| Keywords |
A1 Journal article; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
Over time, artist pigments are prone to degradation, which can decrease the readability of the artwork or notably change the artist's intention. In this article, the visual implication of secondary degradation products in a degraded yellow rose in a still life painting by A. Mignon is discussed as a case study. A multimodal combination of chemical and optical imaging techniques, including noninvasive macroscopic x-ray powder diffraction (MA-XRPD) and macroscopic x-ray fluorescence imaging, allowed us to gain a 3D understanding of the transformation of the original intended appearance of the rose into its current degraded state. MA-XRPD enabled us to precisely correlate in situ formed products with what is optically visible on the surface and demonstrated that the precipitated lead arsenates and arsenolite from the yellow pigment orpiment and the light-induced fading of an organic yellow lake irreversibly changed the artist's intentional light-shadow modeling. |
| Address |
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| Corporate Author |
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Thesis |
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| Publisher |
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Place of Publication |
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Editor |
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| Language |
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Wos |
000811556500011 |
Publication Date |
2022-06-08 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
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Series Issue |
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Edition |
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| ISSN |
2375-2548 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
13.6 |
Times cited |
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Open Access |
OpenAccess |
| Notes |
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Approved |
Most recent IF: 13.6 |
| Call Number |
UA @ admin @ c:irua:189657 |
Serial |
7205 |
| Permanent link to this record |
