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Alfeld, M.; van der Snickt, G.; Vanmeert, F.; Janssens, K.; Dik, J.; Appel, K.; van der Loeff, L.; Chavannes, M.; Meedendorp, T.; Hendriks, E. |
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Title |
Scanning XRF investigation of a Flower Still Life and its underlying composition from the collection of the Kröller-Muller Museum |
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A1 Journal article |
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Year |
2013 |
Publication |
Applied physics A : materials science & processing |
Abbreviated Journal |
Appl Phys A-Mater |
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Volume |
111 |
Issue |
1 |
Pages |
165-175 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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000316075700020 |
Publication Date |
2013-01-29 |
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ISSN |
0947-8396 |
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Additional Links  |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
1.455 |
Times cited |
35 |
Open Access |
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Notes |
; This research was supported by the SSD program of BELSPO, Brussels (project S2-ART). Results are also presented here from Gemeenschappelijke Onderzoeksactie (GOA) 'XANES meets ELNES' (Research Fund, University of Antwerp, Belgium) and from Fonds voor Wetenschappelijk Onderzoek (FWO) (Brussels, Belgium) project Nos. G.0704.08 and G.01769.09. The research leading to these results was funded by the European Community's Seventh Framework Program (FP7/2007-2013) under grant agreement No. 226716 and the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO) under the VIDI project “Looking Over the Painter's Shoulder” (grant No. 700.10.426). M. Alfeld is the recipient of a Ph.D. fellowship of the Research Foundation-Flanders (FWO). ; |
Approved |
Most recent IF: 1.455; 2013 IF: 1.694 |
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Call Number |
UA @ admin @ c:irua:108264 |
Serial |
5826 |
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Author |
Alfeld, M.; Siddons, D.P.; Janssens, K.; Dik, J.; Woll, A.; Kirkham, R.; van de Wetering, E. |
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Title |
Visualizing the 17th century underpainting in Portrait of an Old Man by Rembrandt van Rijn using synchrotron-based scanning macro-XRF |
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A1 Journal article |
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Year |
2013 |
Publication |
Applied physics A : materials science & processing |
Abbreviated Journal |
Appl Phys A-Mater |
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Volume |
111 |
Issue |
1 |
Pages |
157-164 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Abstract |
In 17th century Old Master Paintings, the underpainting generally refers to the first sketch of a composition. The underpainting is applied to a prepared ground using a monochrome, brown oil paint to roughly indicate light, shade and contours. So far, methods to visualize the underpainting-other than in localized cross-sections-have been very limited. Neither infrared reflectography nor neutron induced autoradiography have proven to be practical, adequate visualization tools. Thus, although of fundamental interest in the understanding of a painting's genesis, the underpainting has virtually escaped all imaging efforts. In this contribution we will show that 17th century underpainting may consist of a highly heterogeneous mixture of pigments, including copper pigments. We suggest that this brown pigment mixture is actually the recycled left-over of a palette scraping. With copper as the heaviest exclusive elemental component, we will hence show in a case study on a Portrait of an Old Man attributed to Rembrandt van Rijn how scanning macro-XRF can be used to efficiently visualize the underpainting below the surface painting and how this information can contribute to the discussion of the painting's authenticity. |
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000316075700019 |
Publication Date |
2012-12-14 |
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ISSN |
0947-8396 |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
1.455 |
Times cited |
26 |
Open Access |
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Notes |
; This research was supported by the SSD programme of BELSPO, Brussels (project S2-ART). The text also presents results of GOA 'XANES meets ELNES' (Research Fund, University of Antwerp, Belgium) and from FWO (Brussels, Belgium) projects nos. G.0704.08 and G.01769.09. Further, the research leading to these results has received funding from the European Community's Seventh Framework Programme (FP7/2007-2013) under grant agreement no. 226716. M. Alfeld receives a Ph.D. fellowship of the Research Foundation-Flanders (FWO). Use of the National Synchrotron Light Source, Brookhaven National Laboratory, was supported by the U.S. Department of Energy, Office of Science, Office of Basic Energy Sciences, under Contract No. DE-AC02-98CH10886. We acknowledge the assistance of C. Ryan, CSIRO Australia, in the preparation of the elemental maps using GeoPIXE and Rene Gerritsen (http://www.renegerritsen.nl) in providing photographs, XRR and IRR of the painting. We thank Sullivan Entertainment for documenting part of this project in their TV documentary 'Out of the shadows'. ; |
Approved |
Most recent IF: 1.455; 2013 IF: 1.694 |
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Call Number |
UA @ admin @ c:irua:108263 |
Serial |
5908 |
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Author |
van der Snickt, G.; Janssens, K.; Dik, J.; de Nolf, W.; Vanmeert, F.; Jaroszewicz, J.; Cotte, M.; Falkenberg, G.; Van der Loeff, L. |
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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 |
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A1 Journal article |
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Year |
2012 |
Publication |
Analytical chemistry |
Abbreviated Journal |
Anal Chem |
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Volume |
84 |
Issue |
23 |
Pages |
10221-10228 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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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. |
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000311815300013 |
Publication Date |
2012-08-30 |
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0003-2700; 5206-882x |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
6.32 |
Times cited |
59 |
Open Access |
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Notes |
; This research was supported by BELSPO via the Interuniversity Attraction Poles Programme (IUAP VI/16) and the S2-ART project (SD/RI/04A) and funded by Grants from the ESRF (EC-442) and PETRA-III (I-20120312 EC). The text also presents results of GOA “XANES meets ELNES” (Research Fund University of Antwerp, Belgium) and from FWO (Brussels, Belgium) project nos. G.0103.04, G.0689.06, and G.0704.08. The staff of the Kroller-Muller Museum and painting conservators Margje Leeuwestein and Esther Van Duijn are acknowledged for this pleasant cooperation and the authorization for the publication of the images in this article. ; |
Approved |
Most recent IF: 6.32; 2012 IF: 5.695 |
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Call Number |
UA @ admin @ c:irua:105971 |
Serial |
5526 |
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Author |
Anitha, A.; Brasoveanu, A.; Duarte, M.; Hughes, S.; Daubechies, I.; Dik, J.; Janssens, K.; Alfeld, M. |
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Title |
Restoration of X-ray fluorescence images of hidden paintings |
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A1 Journal article |
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Year |
2013 |
Publication |
Signal processing |
Abbreviated Journal |
Signal Process |
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Volume |
93 |
Issue |
3 |
Pages |
592-604 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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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. |
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000312521400007 |
Publication Date |
2012-10-13 |
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ISSN |
0165-1684 |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
3.11 |
Times cited |
13 |
Open Access |
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Notes |
; Marco F. Duarte was supported during this research by NSF Supplemental Funding DMS-0439872 to UCLA-IPAM, PI: R. Caflisch. Matthias Alfeld receives support in the form of a Ph.D. fellowship of the Research Foundation Flanders (FWO). This research was also supported by the Interuniversity Attraction Poles Programme Belgian Science Policy (IUAP VI/16). The text also presents results of GOA “XANES meets ELNES” (Research Fund University of Antwerp, Belgium) and from FWO (Brussels, Belgium) projects no. G.0704.08 and G.01769.09. ; |
Approved |
Most recent IF: 3.11; 2013 IF: 2.238 |
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Call Number |
UA @ admin @ c:irua:105921 |
Serial |
5817 |
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