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.

Abstract: At or below the surface of painted works of art, valuable information is present that provides insights into an object’s past, such as the artist’s technique and the creative process that was followed or its conservation history, but also on its current state of preservation. Typically, a (very) limited set of small paint samples is taken which provide direct access to the individual paint layers. The chemical build-up of these layers can then be investigated in great detail using various microscopic analytical methods. However, in recent years a new trend towards both elemental and chemical imaging techniques has been set which are capable of visualizing the (often) heterogeneous composition of painted objects on a macroscopic scale. In this dissertation, various forms of specificity attainable with X‑ray powder diffraction (XRPD) imaging are explored: at the chemical, material and spatial level. This high specificity is illustrated throughout several applications stemming from the field of cultural heritage, both at the macroscopic (MA) and microscopic (µ) scale. As a first step, XRPD imaging was transformed to a transportable instrument that can be employed for the in situ investigation of artworks, e.g., inside museums and conservation workshops. With this unique instrument large‑scale maps (cm2 – dm2) reflecting the distribution of crystalline phases on/below the surface of flat painted artefacts can be visualized in a noninvasive manner. In this way compound-specific information was attained which can be related to original pigments or materials that have been added in a later stage and even degradation/secondary products that have formed spontaneously inside the paint layers. Additionally, with MA‑XRPD imaging it was possible to link quantitative information of pigment compositions and preferred orientation effects to the 2D compound‑specific distribution images, allowing for a further distinction between very similar artists’ materials. Furthermore, promising results for the limited depth-selectivity of this technique, obtained by exploiting the small shift in the position of the diffraction signals originating from the layered sequence of the pigments, are shown. Finally, a minute paint sample from Wheat stack under a cloudy sky by Van Gogh was investigated at a synchrotron radiation facility with tomographic µ‑XRPD imaging at the microscopic scale. The high chemical and spatial specificity of this imaging method was exploited to further elucidate the degradation pathway of the red lead pigment.