| Records |
| Author |
Padilla, R.; Janssens, K.; van Espen, P.; Van Grieken, R. |
| Title |
XRS activities at the Micro & Trace Analysis Centre (MiTAC), University of Antwerp, Belgium |
Type |
A3 Journal article |
| Year |
2006 |
Publication |
IAEA XRF newsletter |
Abbreviated Journal |
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| Volume |
12 |
Issue |
|
Pages |
13-16 |
| Keywords |
A3 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Chemometrics (Mitac 3) |
| Abstract |
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Wos |
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Additional Links |
UA library record |
Impact Factor  |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:65080 |
Serial |
5921 |
| Permanent link to this record |
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| |
| Author |
Van der Stighelen, K.; Janssens, K.; van der Snickt, G.; Alfeld, M.; Van Beneden, B.; Demarsin, B.; Proesmans, M.; Marchal, G.; Dik, J. |
| Title |
Young Anthony van Dyck revisited : a multidisciplinary approach to a portrait once attributed to Peter Paul Rubens |
Type |
A3 Journal article |
| Year |
2014 |
Publication |
Art matters : international journal for technical art history |
Abbreviated Journal |
|
| Volume |
6 |
Issue |
|
Pages |
21-35 |
| Keywords |
A3 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| 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. |
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Wos |
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| Series Editor |
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Series Title |
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Abbreviated Series Title |
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Additional Links |
UA library record |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:122562 |
Serial |
5922 |
| Permanent link to this record |
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| |
| Author |
Harth, A.; van der Snickt, G.; Schalm, O.; Janssens, K.; Blanckaert, G. |
| Title |
The young Van Dyck's fingerprint : a technical approach to assess the authenticity of a disputed painting |
Type |
A1 Journal article |
| Year |
2017 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
5 |
Issue |
|
Pages |
22-13 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
The painting Saint Jerome, part of the collection of the Maagdenhuis Museum (Antwerp, Belgium), is attributed to the young Anthony van Dyck (1613-1621) with reservations. The painting displays remarkable compositional and iconographic similarities with two early Van Dyck works (1618-1620) now in Museum Boijmans van Beuningen (Rotterdam) and Nationalmuseum (Stockholm). Despite these similarities, previous art historical research did not result in a clear attribution to this master. In this study, the works authenticity as a young Van Dyck painting was assessed from a technical perspective by employing a twofold approach. First, technical information on Van Dycks materials and techniques, here identified as his fingerprint, were defined based on a literature review. Second, the materials and techniques of the questioned Saint Jerome painting were characterized by using complementary imaging techniques: infrared reflectography, X-ray radiography and macro X-ray fluorescence scanning. The insights from this non-invasive research were supplemented with analysis of a limited number of cross-sections by means of field emission scanning electron microscopy coupled with energy dispersive X-ray spectroscopy. The results demonstrated that the questioned paintings materials and techniques deviate from Van Dycks fingerprint, thus making the authorship of this master very unlikely. |
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Thesis |
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Place of Publication |
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Editor |
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| Language |
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Wos |
000403971300001 |
Publication Date |
2017-05-12 |
| 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; WoS citing articles |
| Impact Factor |
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Times cited |
1 |
Open Access |
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| Notes |
; The authors are grateful to the staff of the Maagdenhuis Museum Antwerp, especially to Daniel Christiaens and Rudi van Velthoven, for their cooperation and enthusiastic support. Prof. Em. Claudine A. Chavannes-Mazel and Ph. D. student Alice Taatgen (University of Amsterdam) are acknowledged for the IRR recordings. We also would like to acknowledge Dr. Christina Currie (KIK/IRPA) and Catherine Fondaire (KIK/IRPA) for the XRR, and Eva Grieten (EMAT, University of Antwerp) for the FE-SEM-EDX. Finally, the authors wish to thank Prof. Dr. Katlijne van der Stighelen (University of Leuven) and Prof. Dr. Maximilaan Martens (Ghent University) for their art historical insights and additional comments. This research was supported by the Baillet Latour fund and Research Foundation Flanders (FWO). ; |
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:143633 |
Serial |
5923 |
| Permanent link to this record |
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| |
| Author |
Pouyet, E.; Cotte, M.; Fayard, B.; Salome, M.; Meirer, F.; Mehta, A.; Uffelman, E.S.; Hull, A.; Vanmeert, F.; Kieffer, J.; Burghammer, M.; Janssens, K.; Sette, F.; Mass, J. |
| Title |
2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of Henri Matisse |
Type |
A1 Journal article |
| Year |
2015 |
Publication |
Applied physics A : materials science & processing |
Abbreviated Journal |
|
| Volume |
121 |
Issue |
3 |
Pages |
967-980 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
The chemical and physical alterations of cadmium yellow (CdS) paints in Henri Matisse's The Joy of Life (1905-1906, The Barnes Foundation) have been recognized since 2006, when a survey by portable X-ray fluorescence identified this pigment in all altered regions of the monumental painting. This alteration is visible as fading, discoloration, chalking, flaking, and spalling of several regions of light to medium yellow paint. Since that time, synchrotron radiation-based techniques including elemental and spectroscopic imaging, as well as X-ray scattering have been employed to locate and identify the alteration products observed in this and related works by Henri Matisse. This information is necessary to formulate one or multiple mechanisms for degradation of Matisse's paints from this period, and thus ensure proper environmental conditions for the storage and the display of his works. This paper focuses on 2D full-field X-ray Near Edge Structure imaging, 2D micro-X-ray Diffraction, X-ray Fluorescence, and Fourier Transform Infra-red imaging of the altered paint layers to address one of the long-standing questions about cadmium yellow alteration-the roles of cadmium carbonates and cadmium sulphates found in the altered paint layers. These compounds have often been assumed to be photo-oxidation products, but could also be residual starting reagents from an indirect wet process synthesis of CdS. The data presented here allow identifying and mapping the location of cadmium carbonates, cadmium chlorides, cadmium oxalates, cadmium sulphates, and cadmium sulphides in thin sections of altered cadmium yellow paints from The Joy of Life and Matisse's Flower Piece (1906, The Barnes Foundation). Distribution of various cadmium compounds confirms that cadmium carbonates and sulphates are photo-degradation products in The Joy of Life, whereas in Flower Piece, cadmium carbonates appear to have been a [(partially) unreacted] starting reagent for the yellow paint, a role previously suggested in other altered yellow paints. |
| Address |
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| Corporate Author |
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Thesis |
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Place of Publication |
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Editor |
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| Language |
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Wos |
000364914100017 |
Publication Date |
2015-06-03 |
| 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 |
0947-8396; 1432-0630 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
no |
| Call Number |
UA @ admin @ c:irua:130290 |
Serial |
7382 |
| Permanent link to this record |
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| |
| Author |
Vanmeert, F.; De Meyer, S.; Gestels, A.; Clerici, E.A.; Deleu, N.; Legrand, S.; Van Espen, P.; Van der Snickt, G.; Alfeld, M.; Dik, J.; Monico, L.; De Nolf, W.; Cotte, M.; Gonzalez, V.; Saverwyns, S.; Depuydt-Elbaum, L.; Janssens, K. |
| Title |
Non-invasive and non-destructive examination of artists’ pigments, paints and paintings by means of X-ray imaging methods |
Type |
H1 Book chapter |
| Year |
2022 |
Publication |
|
Abbreviated Journal |
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| Volume |
|
Issue |
|
Pages |
317-357 |
| Keywords |
H1 Book chapter; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
Recent studies in which X-ray beams of (sub)micrometre to millimetre dimensions have been used for non-destructive analysis and characterization of pigments, minute paint samples and/or entire paintings from fifteenth to twentieth century artists are discussed. The overview presented encompasses the use of laboratory and synchrotron radiation-based instrumentation and deals with the use of several variants of X-ray fluorescence (XRF) as a method of elemental analysis and imaging as well as with the combined use with X-ray diffraction (XRD). Microscopic XRF (μ-XRF) is a variant of the XRF method able to visualize the elemental distribution of key elements, mostly metals, on the scale from 1 μm to 100 μm present inside multi-layered micro samples taken from paintings. In the context of the characterization of artists’ pigments subjected to natural degradation, in many cases the use of methods limited to elemental analysis or imaging does not suffice to elucidate the chemical transformations that have taken place. However, at synchrotron facilities, combinations of μ-XRF with related methods such as μ-XAS (microscopic X-ray absorption spectroscopy) and μ-XRD have proven themselves to be very suitable for such studies. Since microscopic investigation of a relatively limited number of minute paint samples may not yield representative information about the complete artefact they were taken from, several methods for macroscopic, non-invasive imaging have recently been developed. Combined macroscopic XRF/XRD scanning is able to provide a fairly complete overview of the inorganic pigments employed to create a work of art, to answer questions about ongoing degradation phenomena and about its authenticity. As such these newly developed non-invasive and highly specific imaging methods are of interest for many cultural heritage stakeholders. |
| 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 |
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Publication Date |
2022-09-08 |
| 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 |
|
Edition |
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| ISSN |
|
ISBN |
978-3-030-86864-2 |
Additional Links |
UA library record |
| Impact Factor |
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Times cited |
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Open Access |
Not_Open_Access |
| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:190777 |
Serial |
7183 |
| Permanent link to this record |
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| Author |
De Meyer, S.; Vanmeert, F.; Janssens, K.; Storme, P. |
| Title |
A mobile scanner for xrpd-imaging of paintings in transmission and reflection geometry |
Type |
P1 Proceeding |
| Year |
2017 |
Publication |
ACTA ARTIS ACADEMICA 2017: PAINTING AS A STORY
T2 – 6th Interdisciplinary ALMA Conference, JUN 01-03, 2017, Brno, CZECH REPUBLIC |
Abbreviated Journal |
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| Volume |
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Issue |
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Pages |
29-38 |
| Keywords |
P1 Proceeding; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
In this paper the possibilities and limitations of a non-invasive prototype of macroscopic X-ray powder diffraction scanning device employed in transmission and reflection mode are demonstrated. Contrarily to e.g. macroscopic X-ray fluorescence scanners, which gather information on the elemental level, the prototype instrument allows to obtain information on the crystallographic structure of the components. When applied to cultural heritage artefacts, it becomes possible to identify and localize crystalline pigments. Furthermore, it became clear that different information can be available depending on the geometry of the scanner components. In transmission mode information over the entire stratigraphy of the painting is gathered, which is useful to e.g. identify background substrates and major pigments. On the other hand, reflection-XRPD is a surface-sensitive technique and allows the identification of pigments and degradation products located on the surface. The data acquired during both experiments can be presented as two-dimensional distribution maps which show the spatial distribution of every identified pigment. The complementary nature of transmission and reflectionmode makes it possible to gain more insight into the stratigraphy of the painting which is valuable information for conservation and restoration scientists. |
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Place of Publication |
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Editor |
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Wos |
000430517600002 |
Publication Date |
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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 |
978-80-87108-75-8 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
no |
| Call Number |
UA @ admin @ c:irua:189869 |
Serial |
7392 |
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| Author |
van Loon, A.; Vandivere, A.; Delaney, J.K.; Dooley, K.A.; De Meyer, S.; Vanmeert, F.; Gonzalez, V.; Janssens, K.; Leonhardt, E.; Haswell, R.; de Groot, S.; D'Imporzano, P.; Davies, G.R. |
| Title |
Beauty is skin deep : the skin tones of Vermeer's Girl with a Pearl Earring |
Type |
A1 Journal article |
| Year |
2019 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
7 |
Issue |
1 |
Pages |
102 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
The soft modelling of the skin tones in Vermeer's Girl with a Pearl Earring (Mauritshuis) has been remarked upon by art historians, and is their main argument to date this painting to c. 1665. This paper describes the materials and techniques Vermeer used to accomplish the smooth flesh tones and facial features of the Girl, which were investigated as part of the 2018 Girl in the Spotlight research project. It combines macroscopic X-ray fluorescence imaging (MA-XRF), reflectance imaging spectroscopy (RIS), and 3D digital microscopy. Vermeer built up the face, beginning with distinct areas of light and dark. He then smoothly blended the final layers to create almost seamless transitions. The combination of advanced imaging techniques highlighted that Vermeer built the soft contour around her face by leaving a 'gap' between the background and the skin. It also revealed details that were otherwise not visible with the naked eye, such as the eyelashes. Macroscopic imaging was complemented by the study of paint cross-sections using: light microscopy, SEM-EDX, FIB-STEM, synchrotron radiation mu-XRPD and FTIR-ATR. Vermeer intentionally used different qualities or grades of lead white in the flesh paints, showing different hydrocerussite/cerussite ratios and particle sizes. Lead isotope analysis showed that the geographic source of lead, from which the different types of lead white were manufactured, was the same: the region of Peak District of Derbyshire, UK. Finally, cross-section analysis identified the formation of new lead species in the paints: lead soaps and palmierite (K2Pb(SO4)(2)), associated with the red lake. |
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Thesis |
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Place of Publication |
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Editor |
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Wos |
000516736100001 |
Publication Date |
2019-12-16 |
| Series Editor |
|
Series Title |
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Abbreviated Series Title |
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| Series Volume |
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Series Issue |
|
Edition |
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| ISSN |
2050-7445 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
|
Open Access |
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| Notes |
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Approved |
no |
| Call Number |
UA @ admin @ c:irua:167549 |
Serial |
7552 |
| Permanent link to this record |
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| |
| Author |
Caen, J.; Schalm, O.; Janssens, K. |
| Title |
Caractérisation historique et chimique des peintures en grisaille et du verre de vitrail dans l'oeuvre de J.-B. Capronnier (1814 – 1891) et J.-B. Bethune (1821 – 1894) |
Type |
P3 Proceeding |
| Year |
2000 |
Publication |
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Abbreviated Journal |
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| Volume |
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Issue |
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Pages |
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| Keywords |
P3 Proceeding; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
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| Address |
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Thesis |
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Place of Publication |
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Editor |
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Wos |
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Publication Date |
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| 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 |
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ISBN |
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Additional Links |
UA library record |
| Impact Factor |
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Times cited |
|
Open Access |
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| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:112007 |
Serial |
7576 |
| Permanent link to this record |
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| |
| Author |
Klaassen, L.; van der Snickt, G.; Legrand, S.; Higgitt, C.; Spring, M.; Vanmeert, F.; Rosi, F.; Brunetti, B.G.; Postec, M.; Janssens, K. |
| Title |
Characterization and removal of a disfiguring oxalate crust on a large altarpiece by Hans Memling |
Type |
H1 Book chapter |
| Year |
2019 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
263-282
T2 - Metal soaps in art / Casadio, F. [edi |
| Keywords |
H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
During the conservation treatment of Memling’s Christ with Singing and Music-making Angels, three panel paintings that are among the most monumental works in early Netherlandish art, the conservators came across insoluble surface layers containing calcium oxalates. A very thin and irregular layer of this type, hardly visible to the naked eye, was spread across the surface of all three panels. A much thicker layer forming an opaque and highly disfiguring crust that obscured the composition (Figs. 15.1 and 15.7) was locally present on areas of dark copper-containing paint, where multiple layers of old discolored coatings and accretions remained in place before the most recent cleaning. This article describes the application of a wide range of analytical techniques in order to fully understand the stratigraphy and composition of the crusts on the Memling paintings. FTIR spectroscopy in transmission and reflection mode, micro-ATR-FTIR imaging and macro-rFTIR scanning, SEM-EDX, mobile XRD, and SR-μXRD showed that the crusts contained two related Ca-based oxalate salts, whewellite and weddellite, and were separated from the original paint surface by varnish, indicating that they did not originate from degradation of the original paint but from a combination of microbial action and a thick accumulation of dirt. Supported by the results from these different analytical techniques, which when used together proved to be very effective in providing complementary information that addressed this specific conservation problem, and aided by the presence of the intermediate varnish layer(s), the conservators were able to remove most of the crusts with spectacular results. |
| 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 |
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Publication Date |
2019-03-23 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-3-319-90616-4 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:190778 |
Serial |
7609 |
| Permanent link to this record |
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| |
| Author |
Monico, L.; Hendriks, E.; Geldof, M.; Miliani, C.; Janssens, K.; Brunetti, B.G.; Cotte, M.; Vanmeert, F.; Chieli, A.; Van der Snickt, G.; Romani, A.; Melo, M.J. |
| Title |
Chemical alteration and colour changes in the Amsterdam sunflowers |
Type |
H1 Book chapter |
| Year |
2019 |
Publication |
|
Abbreviated Journal |
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| Volume |
|
Issue |
|
Pages |
125-158
T2 - Van Gogh’s Sunflowers illuminated – a |
| Keywords |
H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
This chapter provides a description of colour changes in the Amsterdam Sunflowers due to chemical alteration of pigments, with a focus on geranium lakes and chrome yellows. The brilliant and forceful colours of these and other late nineteenth-century synthetic materials offered artists such as Vincent van Gogh new means of artistic expression that exploited a range of contrasting hues and tints. However, geranium lakes have a strong tendency to fade and chrome yellows to darken under the influence of light. Van Gogh, like other artists of his day, was aware of this drawback, yet he continued to favour the use of both pigments up until his death in July 1890 due to the unparalleled effects they gave. In April 1888, Vincent wrote to his brother Theo: Van Gogh's use of unstable colours opens a series of questions regarding the extent to which colour change affects the way his paintings look today, as discussed here in relation to the Amsterdam Sunflowers. Furthermore, given the frequency with which geranium lakes and chrome yellows occur in Van Gogh's paintings of the period 1888–90 and the predominance of chrome yellows in Sunflowers, it becomes important to understand the factors that can drive these processes of deterioration in order to develop appropriate strategies for conserving the artist's works. |
| 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 |
|
Wos |
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Publication Date |
2020-11-25 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-94-6372-532-3 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:190779 |
Serial |
7640 |
| Permanent link to this record |
| |
|
| |
| Author |
Hendriks, E.; Geldof, M.; van den Berg, K.J.; Monico, L.; Miliani, C.; Moretti, P.; Iwanicka, M.; Targowski, P.; Megens, L.; de Groot, S.; van Keulen, H.; Janssens, K.; Vanmeert, F.; van der Snickt, G. |
| Title |
Conservation of the Amsterdam sunflowers : from past to future |
Type |
H1 Book chapter |
| Year |
2019 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
175-205
T2 - Van Gogh’s Sunflowers illuminated – a |
| Keywords |
H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
This chapter lays out a conservation timeline, from past to future, for the Amsterdam version of Van Gogh's Sunflowers. It starts by considering the restoration history of the painting in order to assess its current physical state, and looks ahead to formulate an appropriate strategy for future conservation treatment and display. Due attention is paid to the two recorded episodes of restoration performed in 1927 and 1961 by the Dutch restorer, Jan Cornelis Traas. Based on physical and chemical investigation of Sunflowers we attempt to reconstruct what these former treatments (which are barely documented) entailed and consider the repercussions for the present condition of the painting. The former interventions by Traas also serve as a benchmark to reflect on current choices made, highlighting the extent to which ideas and methodologies have continued to evolve over the past century as conservation has moved further away from being a singularly craft-based activity to become an established historical and scientific discipline underpinned by ethical guidelines. Jan Cornelis Traas (1898–1984) As mentioned, the two main recorded interventions to the Amsterdam Sunflowers may be associated with the Dutch restorer, Jan Cornelis Traas, who treated the picture in 1927, close to the start of his career, and again in 1961, shortly before he retired. Traas was the first restorer to be appointed at the Mauritshuis in The Hague where he worked from 1931 to 1962 and treated hundreds of paintings, including iconic masterpieces such as Girl with a Pearl Earring by Johannes Vermeer. Yet despite the magnitude and importance of his restoration oeuvre, J.C. Traas (as he is usually referred to in surviving documents), has remained somewhat obscure. He is shown here in the only known surviving photograph of him at work, shortly before he retired (fig. 7.1). Unlike his illustrious contemporaries, A. Martin de Wild (1899–1969) and Helmut Ruhemann (1891–1973), for example, Traas did not publish anything, he appears to have kept no records of his work and no personal archive is known. However, the study of some newly discovered historical documents, combined with physical examination of Sunflowers and a large number of other works he treated, allows us to recover an idea of his working practices and approaches viewed within the context of his day. |
| 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 |
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Publication Date |
2020-11-25 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-94-6372-532-3 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:190780 |
Serial |
7727 |
| Permanent link to this record |
| |
|
| |
| Author |
Janssens, K.; Alfeld, M.; Van der Snickt, G.; De Nolf, W.; Vanmeert, F.; Monico, L.; Legrand, S.; Dik, J.; Cotte, M.; Falkenberg, G.; van der Loeff, L.; Leeuwestein, M.; Hendriks, E. |
| Title |
Examination of Vincent van Gogh's paintings and pigments by means of state-of-the-art analytical methods |
Type |
H2 Book chapter |
| Year |
2014 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
373-403
T2 - Science and art : the painted surface |
| Keywords |
H2 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Recent studies in which X-ray beams of macroscopic to (sub) microscopic dimensions were used for non-destructive analysis and characterization of pigments, paint micro samples and/or entire paintings by Vincent van Gogh are concisely reviewed. The overview presented encompasses the use of laboratory and synchrotron radiation-based instrumentation and deals with the use of several variants of X-ray fluorescence (XRF) as a method of elemental analysis and imaging as well as with the combined use of X-ray diffraction (XRD) and X-ray absorption spectroscopy (XAS). Microscopic and macroscopic XRF are variants of the method that are well suited to visualize the elemental distribution of key elements, mostly metals, present in paint multi layers, either on the length scale from 1–100 μm inside micro samples taken from paintings or on the 1–100 cm length scale when the (subsurface) distribution of specific pigments in entire paintings is concerned. In the context of the characterization of van Gogh's pigments subject to natural degradation, the use of methods limited to elemental analysis or imaging usually is not sufficient to elucidate the chemical transformations that have taken place. However, at synchrotron facilities, combinations of μ-XRF with related methods such as μ-XAS and μ-XRD have proven themselves to be very suitable for such studies. Their use is often combined with microscopic Fourier transform infra-red (μ-FTIR) spectroscopy since this method delivers complementary information at more or less the same length scale as the X-ray microprobe techniques. Also in the context of macroscopic imaging of works of art, the complementary use of X-ray based and infra-red based imaging appears very promising; some recent developments are discussed. |
| 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 |
|
Publication Date |
2020-02-24 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-1-84973-818-7 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:190782 |
Serial |
7943 |
| Permanent link to this record |
| |
|
| |
| Author |
Martins, A.; Coddington, J.; van der Snickt, G.; van Driel, B.; McGlinchey, C.; Dahlberg, D.; Janssens, K.; Dik, J. |
| Title |
Jackson Pollock's Number 1A, 1948 : a non-invasive study using macro-x-ray fluorescence mapping (MA-XRF) and multivariate curve resolution-alternating least squares (MCR-ALS) analysis |
Type |
A1 Journal article |
| Year |
2016 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
4 |
Issue |
|
Pages |
33 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Jackson Pollock's Number 1A, 1948 painting was investigated using in situ scanning macro-x-ray fluorescence mapping (MA-XRF) to help characterize the artist's materials and his creative process. A multivariate curve resolution-alternating least squares (MCR-ALS) approach was used to examine the hyperspectral data and obtain distribution maps and signature spectra for the paints he used. The composition of the paints was elucidated based on the chemical elements identified in the signature spectra and a tentative list of pigments, fillers and other additives is proposed for eleven different paints and for the canvas. The paint distribution maps were used to virtually reconstruct the artist process and document the sequence and manner in which Pollock applied the different paints, using deliberate and specific gestures. |
| Address |
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| Corporate Author |
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Thesis |
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| Publisher |
|
Place of Publication |
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Editor |
|
| Language |
|
Wos |
000386395100001 |
Publication Date |
2016-09-07 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
2050-7445 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:138172 |
Serial |
8134 |
| Permanent link to this record |
| |
|
| |
| Author |
Legrand, S.; van der Snickt, G.; Cagno, S.; Caen, J.; Janssens, K. |
| Title |
MA-XRF imaging as a tool to characterize the 16th century heraldic stained-glass panels in Ghent Saint Bavo Cathedral |
Type |
A1 Journal article |
| Year |
2019 |
Publication |
Journal of cultural heritage |
Abbreviated Journal |
|
| Volume |
40 |
Issue |
|
Pages |
163-168 |
| Keywords |
A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
MA-XRF is a novel macroscopic imaging technique originally developed for easel paintings and recently made available to glass conservators. This paper discusses the first real-life contribution of MA-XRF imaging to a conservation intervention of stained-glass panels. The six panels under study belong to the cathedral building since their creation in 1555-1559 AD. MA-XRF appeared an outstanding tool for first-line screening of stained-glass windows, providing readily interpretable information on glass type, coloring and alteration processes. In particular, the chemical imaging technique allowed distinguishing unambiguously the surviving original glass panes from later additions, thereby ensuring a correct historical understanding. From a more practical point of view, the experiments supplied accurate schemes that can be directly incorporated in condition reports and assist designing the ensuing conservation approach. (C0 2019 Elsevier Masson SAS. All rights reserved. |
| 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 |
|
| Language |
|
Wos |
000491173800017 |
Publication Date |
2019-06-26 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
1296-2074 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:167564 |
Serial |
8191 |
| Permanent link to this record |
| |
|
| |
| Author |
Geldof, M.; Monico, L.; Johnson, D.H.; Miliani, C.; Romani, A.; Grazia, C.; Buti, D.; Brunetti, B.G.; Janssens, K.; Van der Snickt, G.; Vanmeert, F. |
| Title |
Methods and materials of the Amsterdam sunflowers |
Type |
H1 Book chapter |
| Year |
2019 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
85-123
T2 - Van Gogh’s Sunflowers illuminated – ar |
| Keywords |
H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
This chapter explains the materials and techniques employed in the Amsterdam Sunflowers, enabling a comparison with the London version described in chapter 3. Building upon the 2016 article published in the National Gallery Technical Bulletin, it incorporates the latest findings gained by computer-assisted methods used to characterize the canvas support, as well as in-situ campaigns of non-invasive investigation together with further analysis of microscopic paint samples. The chapter sequence follows the steps in Van Gogh's working practice. Starting with the canvas, automated analysis of the weave enables the provenance of the canvas to be traced back to a particular roll of linen ordered by Van Gogh. Combining technical evidence with knowledge of historical manufacturing techniques further allows us to reconstruct the way in which Van Gogh divided his canvas roll into pieces used for Sunflowers and other paintings. We go on to consider how, with the original painting at hand, he used charcoal to transfer the motif of the London Sunflowers onto his blank canvas. Despite careful planning of the composition, an adjustment was required late in the working process, when Van Gogh added a painted wooden strip to extend the background above the flower at the top edge of the canvas. The artist's process of working up the composition in paint is described, paying special attention to his use of colour. The pigments and pigment mixtures used in the Amsterdam Sunflowers have been comprehensively mapped and are compared with the London picture, with discussion of some similarities and differences that account for the distinctive colour scheme of each painting. This understanding of colour application in the Amsterdam Sunflowers lays the foundation for subsequent chapters that will go on to consider the impact of light-induced colour changes that have taken place over time, and the related need to define appropriate lighting guidelines for the future safe preservation of this painting and others made with similar materials (chapters 5 and 7). |
| 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 |
|
Wos |
|
Publication Date |
2020-11-25 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-94-6372-532-3 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:190781 |
Serial |
8223 |
| Permanent link to this record |
| |
|
| |
| Author |
Al-Emam, E.; Motawea, A.G.; Caen, J.; Janssens, K. |
| Title |
Soot removal from ancient Egyptian complex painted surfaces using a double network gel : empirical tests on the ceiling of the sanctuary of Osiris in the temple of Seti I-Abydos |
Type |
A1 Journal article |
| Year |
2021 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
9 |
Issue |
1 |
Pages |
1-10 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
In this study, we evaluated the ease of removal of soot layers from ancient wall paintings by employing double network gels as a controllable and safe cleaning method. The ceiling of the temple of Seti I (Abydos, Egypt) is covered with thick layers of soot; this is especially the case in the sanctuary of Osiris. These layers may have been accumulated during the occupation of the temple by Christians, fleeing the Romans in the first centuries A.D. Soot particulates are one of the most common deposits to be removed during conservation-restoration activities of ancient Egyptian wall paintings. They usually mask the painted reliefs and reduce the permeability of the painted surface. A Polyvinyl alcohol-borax/agarose (PVA-B/AG) double network gel was selected for this task since its properties were expected to be compatible with the cleaning treatment requirements. The gel is characterized by its flexibility, permitting to take the shape of the reliefs, while also having self-healing properties, featuring shape stability and an appropriate capacity to retain liquid. The gel was loaded with several cleaning reagents that proved to be effective for soot removal. Soot removal tests were conducted with these gel composites. The cleaned surfaces were evaluated with the naked eye, a digital microscope, and color measurements in order to select the best gel composite. The gel composite, loaded with a solution of 5% ammonia, 0.3% ammonium carbonate, and 0.3% EDTA yielded the most satisfactory results and allowed to safely remove a crust of thick soot layers from the surface. Thus, during the final phase of the study, it was used successfully to clean a larger area of the ceiling. |
| 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 |
|
Wos |
000604977300001 |
Publication Date |
2021-01-04 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
2050-7445 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
|
Open Access |
OpenAccess |
| Notes |
|
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:174948 |
Serial |
8557 |
| Permanent link to this record |
| |
|
| |
| Author |
Koldeweij, J.; Hoogstede, L.; Ilsink, M.; Janssens, K.; De Keyser, N.; Gotink, R.K.; Legrand, S.; Nauhaus, J.M.; van der Snickt, G.; Spronk, R. |
| Title |
The patron of Hieronymus Bosch's 'Last Judgment' triptych in Vienna |
Type |
A1 Journal article |
| Year |
2018 |
Publication |
The Burlington magazine |
Abbreviated Journal |
|
| Volume |
160 |
Issue |
1379 |
Pages |
106-111 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
A technical examination of the Last Judgment triptych by Hieronymus Bosch in the Paintings Gallery of the Academy of Fine Arts, Vienna, has revealed a painted escutcheon with the coat of arms of the Burgundian court official Hippolyte de Berthoz underneath the current surface of the right outer wing. This allows him to be firmly identified as the painting's patron. |
| 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 |
|
Wos |
000458246800007 |
Publication Date |
|
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0007-6287; 2044-9925 |
ISBN |
|
Additional Links |
UA library record; WoS full record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:181267 |
Serial |
8656 |
| Permanent link to this record |
| |
|
| |
| Author |
Vanmeert, F.; Van der Snickt, G.; Legrand, S.; Janssens, K. |
| Title |
Velázquez? A portrait of Pope Innocent X : an X-ray imaging investigation (II) |
Type |
H3 Book chapter |
| Year |
2019 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
132-141
T2 - Velázquez : Anregungen, Vorschläge, L |
| Keywords |
H3 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Encompassing a broad spectrum of methodological approaches and aims, the scholars contributing to this volume offer renewed perspectives on the multifaceted oeuvre of Diego Velázquez. The seventeenth-century artist’s exceptional religious works as well as his numerous portraits are examined within the social and historical context of Velázquez’s milieu which included both the Spanish court as well as circles comprising important intellectual figures of his time. Following a close investigation of his works, which also includes the results of recent technological examinations on his paintings, the contributors to this volume offer new, exciting findings and discussions on the inspirations, sources and possible intentions of Velázquez. |
| 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 |
|
| Language |
|
Wos |
|
Publication Date |
|
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-3-99020-155-8 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:190783 |
Serial |
8736 |
| Permanent link to this record |
| |
|
| |
| Author |
Koirala, B.; Rasti, B.; Bnoulkacem, Z.; De Lima Ribeiro, A.; Madriz, Y.; Herrmann, E.; Gestels, A.; De Kerf, T.; Janssens, K.; Steenackers, G.; Gloaguen, R.; Scheunders, P. |
| Title |
An extensive multisensor hyperspectral benchmark datasets of intimate mixtures of mineral powders |
Type |
P1 Proceeding |
| Year |
2023 |
Publication |
IEEE International Geoscience and Remote Sensing Symposium proceedings
T2 – IGARSS 2023 – 2023 IEEE International Geoscience and Remote Sensing Symposium, 16-21 July 2023, Pasadena, CA, USA |
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
5890-5893
T2 - IGARSS 2023 - 2023 IEEE Internation |
| Keywords |
P1 Proceeding; Economics; Vision lab; Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
Since many materials behave as heterogeneous intimate mixtures with which each photon interacts differently, the relationship between spectral reflectance and material composition is very complex. Quantitative validation of spectral unmixing algorithms requires high-quality ground truth fractional abundance data, which are very difficult to obtain.In this work, we generated a comprehensive hyperspectral dataset of intimate mineral powder mixtures by homogeneously mixing five different clay powders (Kaolin, Roof clay, Red clay, mixed clay, and Calcium hydroxide). In total 325 samples were prepared. Among the 325 samples, 60 mixtures were binary, 150 were ternary, 100 were quaternary, and 15 were quinary. For each mixture (and pure clay powder), reflectance spectra are acquired by 13 different sensors, with a broad wavelength range between the visible and the long-wavelength infrared regions (i.e., between 350 nm and 15385 nm) and with a large variation in sensor types, platforms, and acquisition conditions. We will make this dataset public, to be used by the community for the validation of nonlinear unmixing methodologies (https://github.com/VisionlabUA/Multisensor_datasets) |
| 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 |
|
Wos |
001098971606002 |
Publication Date |
2023-10-20 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
979-83-503-2010-7 |
ISBN |
|
Additional Links |
UA library record; WoS full record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:201596 |
Serial |
9035 |
| Permanent link to this record |
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| |
| Author |
Derks, K.; Youchaeva, M.; Van der Snickt, G.; Van der Stighelen, K.; Janssens, K. |
| Title |
Reconstructing Sweerts : practical insights into the historical dark halo technique based on paint reconstructions |
Type |
P1 Proceeding |
| Year |
2024 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
259-271
T2 - Alla maniera : technical art history |
| Keywords |
P1 Proceeding; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
|
| 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 |
|
Wos |
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Publication Date |
|
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
978-90-429-5216-4 |
ISBN |
|
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:203062 |
Serial |
9082 |
| Permanent link to this record |
| |
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| |
| Author |
Deleu, N.; Hillen, M.; Steenackers, G.; Borms, G.; Janssens, K.; Van der Stighelen, K.; Van der Snickt, G. |
| Title |
Combined macro X-ray fluorescence (MA-XRF) and pulse phase thermography (PPT) imaging for the technical study of panel paintings |
Type |
A1 Journal article |
| Year |
2024 |
Publication |
Talanta : the international journal of pure and applied analytical chemistry |
Abbreviated Journal |
|
| Volume |
270 |
Issue |
|
Pages |
125533-11 |
| Keywords |
A1 Journal article; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
Museum staff usually relies on a proven combination of X-ray radiography (XRR) and infrared reflectography (IRR) to study paintings in a non-destructive manner. In the last decades, however, the research toolbox of heritage scientists has expanded considerably, with a prime example being macro X-ray fluorescence (MA-XRF), producing element-specific images. The goal of this article is to illustrate the added value of augmenting MA-XRF with pulse phase thermography (PPT), a variant of active infrared thermographic imaging (IRT), which is an innovative diagnostic method that is able to reveal variations between or in materials, based on a different response to minor fluctuations in temperature when irradiated with optical radiation. By examining three 16thand 17th-century panel paintings we assess the extent in which combined MA-XRF and PPT contributes to a better understanding of two commonly encountered interventions to panel paintings: (a) Anstuckungen (enlargement of the panel) or (b) substitutions (replacement of part of the panel). Yielding information from different depths of the painting, these two techniques proved highly complementary with IRR and XRR, expanding the understanding of the build-up, genesis, and material history of the paintings. While MA-XRF documented the interventions to the wooden substrate indirectly by revealing variations in painting materials, paint handling and/ or layer sequence between the original part and the extended or replaced planks, PPT proved beneficial for the study of the wooden support itself, by providing a clear image of the wood structure quasi-free of distortion by the superimposed paint or cradling. XRR, on the other hand, revealed other features from the wood structure, not visible with PPT, and allowed looking through the wooden panels, revealing e.g. the dowels used for joining the planks. Additionally, IRR visualised dissimilarities in the underdrawings. In this way, the results indicate that PPT has the potential to become an acknowledged add-on to the expanding set of imaging methods for paintings, especially when used in combination with MA-XRF, IRR and XRR. |
| Address |
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| Corporate Author |
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Thesis |
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| Publisher |
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Place of Publication |
|
Editor |
|
| Language |
|
Wos |
001144098200001 |
Publication Date |
2023-12-09 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0039-9140; 1873-3573 |
ISBN |
|
Additional Links |
UA library record; WoS full record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:203764 |
Serial |
9193 |
| Permanent link to this record |
| |
|
| |
| Author |
Pastorelli, G.; Miranda, A.S.O.; Avranovich Clerici, E.; d'Imporzano, P.; Hansen, B.V.; Janssens, K.; Davies, G.R.; Borring, N. |
| Title |
Darkening of lead white in old master drawings and historic prints : a multi-analytical investigation |
Type |
A1 Journal article |
| Year |
2024 |
Publication |
Microchemical journal |
Abbreviated Journal |
|
| Volume |
199 |
Issue |
|
Pages |
109912-10 |
| Keywords |
A1 Journal article; Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
Old master drawings and historic prints often feature white highlights, which are typically painted using lead white, one of the most widely used historical white pigments. However, it has been observed that many of these highlights discolour over time, becoming dark brown or black due to unclear degradation processes. This phenomenon not only misrepresents the original artefacts, threatening their suitability for public display, but also diminishes their longevity. To ensure their preservation, it is essential to determine why some lead white highlights in these museum objects retain their light tones while others are prone to darkening. The objective of this study was to identify the relationships between the composition, provenance, and production methods of lead white pigments, and their role in the discolouration observed on drawings, lithographs and early photographs. Selected samples and artefacts were examined using a range of analytical techniques, namely X-ray fluorescence spectroscopy (XRF), X-ray powder diffraction (XRPD), and lead isotope analysis. While XRF analyses confirmed the presence of lead as the primary element in the majority of the highlights, XRPD measurements identified a variety of lead compounds such as the carbonates cerussite and hydrocerussite alongside galena-a black crystalline sulfide-and lead sulfates. Additionally, isotope analyses classified the lead raw materials into five main groups. Through these measurements, the examined lead white pigments were categorised based on their compositional properties in relation to the raw materials used, as well as their geographical and temporal origin. A significant finding is that lead white pigments from different production periods, spanning from older to more modern, may be characterised by varying proneness to discolouration irrespective of their provenance. |
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Wos |
001166502200001 |
Publication Date |
2024-01-03 |
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Edition |
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| ISSN |
0026-265x; 0026-265x |
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Additional Links |
UA library record; WoS full record |
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Times cited |
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Open Access |
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| Notes |
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Approved |
no |
| Call Number |
UA @ admin @ c:irua:205450 |
Serial |
9197 |
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| Author |
Janssens, K.; Bogaerts, A.; van Grieken, R. |
| Title |
Colloquium Spectroscopicum Internationale 34: a collection of papers presented at the Colloquium Spectroscopicum Internationale, Antwerp, Belgium, 4-9 September 2005 |
Type |
ME3 Book as editor |
| Year |
2006 |
Publication |
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Abbreviated Journal |
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| Volume |
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Issue |
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Pages |
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| Keywords |
ME3 Book as editor; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Plasma Lab for Applications in Sustainability and Medicine – Antwerp (PLASMANT) |
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Elsevier |
Place of Publication |
Amsterdam |
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Publication Date |
0000-00-00 |
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Additional Links |
UA library record |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:61092 |
Serial |
391 |
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| Author |
Bogaerts, A.; Janssens, K.; van Grieken, R. |
| Title |
Colloquium Spectroscopicum Internationale 34 (CSI 34), Antwerp, Belgium, 4-9 September 2005 |
Type |
ME3 Book as editor |
| Year |
2006 |
Publication |
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Abbreviated Journal |
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| Volume |
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Issue |
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Pages |
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| Keywords |
ME3 Book as editor; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Plasma Lab for Applications in Sustainability and Medicine – Antwerp (PLASMANT) |
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Elsevier |
Place of Publication |
Amsterdam |
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Wos |
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Publication Date |
0000-00-00 |
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Edition |
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Additional Links |
UA library record |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:58858 |
Serial |
394 |
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| Author |
Caen, J.; Schalm, O.; van der Snickt, G.; van der Linden, V.; Frederickx, P.; Schryvers, D.; Janssens, K.; Cornelis, E.; van Dyck, D.; Schreiner, M. |
| Title |
Enamels in stained-glass windows : preparation, chemical composition, microstructure and causes of deterioration |
Type |
P3 Proceeding |
| Year |
2005 |
Publication |
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Abbreviated Journal |
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Issue |
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Pages |
121-126 |
| Keywords |
P3 Proceeding; Art; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Vision lab |
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Glassac |
Place of Publication |
Lisbon |
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Wos |
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Publication Date |
0000-00-00 |
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Series Issue |
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Additional Links |
UA library record |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:112025 |
Serial |
1036 |
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| Author |
Peeters, F.M.; Janssens, K.L.; Partoens, B. |
| Title |
Excitons in single and vertically coupled type II quantum dots in high magnetic fields |
Type |
H1 Book chapter |
| Year |
2003 |
Publication |
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Abbreviated Journal |
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Issue |
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Pages |
117 |
| Keywords |
H1 Book chapter; Condensed Matter Theory (CMT) |
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Place of Publication |
s.l. |
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Wos |
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Publication Date |
0000-00-00 |
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Abbreviated Series Title |
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Series Issue |
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Edition |
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ISBN |
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Additional Links |
UA library record; WoS full record; |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:62451 |
Serial |
1129 |
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| Author |
Peeters, F.M.; Tadić, M.; Janssens, K.L.; Partoens, B. |
| Title |
Hole band engineering in self-assembled quantum dots and molecules |
Type |
H1 Book chapter |
| Year |
2004 |
Publication |
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Abbreviated Journal |
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Issue |
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Pages |
191-202 |
| Keywords |
H1 Book chapter; Condensed Matter Theory (CMT) |
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Thesis |
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Place of Publication |
s.l. |
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Wos |
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Publication Date |
0000-00-00 |
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Abbreviated Series Title |
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Series Issue |
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Edition |
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ISBN |
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Additional Links |
UA library record; WoS full record; |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:62454 |
Serial |
1475 |
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Janssens, K.L.; Partoens, B.; Peeters, F.M. |
| Title |
Magneto-exciton in single and coupled type II quantum dots |
Type |
A1 Journal article |
| Year |
2002 |
Publication |
Physica status solidi: A: applied research |
Abbreviated Journal |
Phys Status Solidi A |
| Volume |
190 |
Issue |
2 |
Pages |
571-576 |
| Keywords |
A1 Journal article; Condensed Matter Theory (CMT) |
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Place of Publication |
Berlin |
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Wos |
000175623200048 |
Publication Date |
2002-08-25 |
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Abbreviated Series Title |
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Series Issue |
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Edition |
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0031-8965;1521-396X; |
ISBN |
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Additional Links |
UA library record; WoS full record |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:62426 |
Serial |
1899 |
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Fredrickx, P.; Schryvers, D.; Janssens, K. |
| Title |
Nanoscale morphology of a piece of ruby red Kunckel glass |
Type |
A1 Journal article |
| Year |
2002 |
Publication |
Physics and chemistry of glasses |
Abbreviated Journal |
Phys Chem Glasses |
| Volume |
43 |
Issue |
4 |
Pages |
176-183 |
| Keywords |
A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Place of Publication |
Sheffield |
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Publication Date |
0000-00-00 |
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Series Issue |
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Edition |
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| ISSN |
0031-9090 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:40020 |
Serial |
2268 |
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| Author |
Janssens, K.L.; Partoens, B.; Peeters, F.M. |
| Title |
Single and coupled type II quantum dots in magnetic and electric fields |
Type |
A1 Journal article |
| Year |
2002 |
Publication |
Physicalia magazine |
Abbreviated Journal |
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| Volume |
24 |
Issue |
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Pages |
211 |
| Keywords |
A1 Journal article; Condensed Matter Theory (CMT) |
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Thesis |
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Place of Publication |
Gent |
Editor |
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Wos |
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Publication Date |
0000-00-00 |
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Series Title |
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Abbreviated Series Title |
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Series Issue |
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Edition |
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| ISSN |
0770-0520 |
ISBN |
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Additional Links |
UA library record |
| Impact Factor |
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Times cited |
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Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ lucian @ c:irua:62456 |
Serial |
3016 |
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