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“Water analysis by spark-source mass-spectrometry after preconcentration on activated carbon”. Vanderborght BM, Van Grieken RE, Talanta : the international journal of pure and applied analytical chemistry 27, 417 (1980). http://doi.org/10.1016/0039-9140(80)80225-6
Abstract: For trace analyses of environmental waters, spark-source mass-spectrometry has been combined with a preconcentration procedure involving chelation of the dissolved trace elements with oxine and subsequent adsorption of the oxinates and naturally occurring organic and colloidal metal species onto activated carbon. The activated carbon is filtered off and ashed at low temperature. The residue is dissolved, an internal standard and pure graphite are added and, after drying, the electrodes are prepared. The photographically recorded mass spectrum is evaluated by a suitable computer routine. The error of the procedure is around 30%. While this preconcentration and analysis procedure is capable of measuring about 40 elements quantitatively, in practice 1025 trace elements are determined simultaneously above the 0.1-μg/l. detection limit, as is illustrated by analyses of drinking water, surface and ground water samples. Although a sophisticated technique, SSMS can be considered for regular panoramic survey analyses.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1016/0039-9140(80)80225-6
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“Weathering of dolomitic sandstone under ambient conditions”. Sweevers H, Delalieux F, Van Grieken R, Atmospheric environment : an international journal 32, 733 (1998). http://doi.org/10.1016/S1352-2310(97)00341-5
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1016/S1352-2310(97)00341-5
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“Weathering of Leinster granite under ambient atmospheric conditions”. Sweevers E, Peeters A, Van Grieken R, The science of the total environment 167, 73 (1995). http://doi.org/10.1016/0048-9697(95)04571-H
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1016/0048-9697(95)04571-H
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“X-ray analysis of riverbank sediment of the Tisza (Hungary): identification of particles from a mine pollution event”. Osán J, Kurunczi S, Török S, Van Grieken R, Spectrochimica acta: part B : atomic spectroscopy 57, 413 (2002). http://doi.org/10.1016/S0584-8547(01)00405-0
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1016/S0584-8547(01)00405-0
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“X-ray micro-analysis of aluminium in pumpkinseed gills”. Eeckhaoudt S, Jacob W, Witters H, Van Grieken R, European journal of morphology 31, 42 (1993)
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“X-ray micro-analysis of aluminium in pumpkinseed gills”. Eeckhaoudt S, Jacob W, Witters H, Van Grieken R, European journal of morphology 30, 296 (1992)
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“X-ray spectrometry”. Szalóki I, Osán J, Van Grieken RE, Analytical chemistry 78, 4069 (2006). http://doi.org/10.1021/AC060688J
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC060688J
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“X-ray spectrometry”. Szalóki I, Osán J, Van Grieken RE, Analytical chemistry 76, 3445 (2004). http://doi.org/10.1021/AC0400820
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC0400820
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“X-ray spectrometry”. Szalóki I, Török SB, Injuk J, Van Grieken RE, Analytical chemistry 74, 2895 (2002). http://doi.org/10.1021/AC020241K
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC020241K
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“X-ray spectrometry”. Szalóki I, Török SB, Ro C-U, Injuk J, Van Grieken RE, Analytical chemistry 72, 211 (2000). http://doi.org/10.1021/A1000018H
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/A1000018H
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“X-ray spectrometry”. Török S, Labar J, Schmeling M, Van Grieken R, Analytical chemistry 70, 495r (1998)
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“X-ray spectrometry”. Török SB, Labar J, Injuk J, Van Grieken RE, Analytical chemistry R68, 467 (1996)
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“X-ray spectrometry”. Török SB, Van Grieken RE, Analytical chemistry 64r, 180 (1992)
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“X-ray spectrometry”. Markowicz AA, Van Grieken RE, Analytical chemistry 62, 101r (1990). http://doi.org/10.1021/AC00211A001
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC00211A001
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“X-ray spectrometry”. Markowicz AA, Van Grieken RE, Analytical chemistry 60, 28r (1988). http://doi.org/10.1021/AC00163A002
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC00163A002
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“X-ray spectrometry”. Markowicz AA, Van Grieken RE, Analytical chemistry 58, 279r (1986). http://doi.org/10.1021/AC00296A019
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1021/AC00296A019
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“X-ray spectrometry”. Markowicz AA, Van Grieken RE, Reviews in analytical chemistry 56, 241r (1984)
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Effects of IR heating on distribution and transport of gaseous air pollutants in urban and mountain churches in Poland”. Bencs L, Spolnik Z, Worobiec A, Samek L, Jutte BAHG, Van Grieken R, Journal of cultural heritage 36, 200 (2019). http://doi.org/10.1016/J.CULHER.2018.09.007
Abstract: The spatial distribution and temporal concentration variation of a set of gaseous air components (e.g., CO2, CO, H2CO, H2O) have been monitored with a multi-channel photoacoustic gas-analyzer in an urban church ( Saint Catherine's, Cracow) and a mountain church ( Saint Michaels Archangel, Szalowa) of Poland, in order to assess the likely effects of air pollution indoors under the influence of provisory electrical infrared (IR) heaters and without heating. Likewise, the ventilation characteristic and the leakage of these buildings with different constructions (i.e., plastered stone and wooden structures) with the assistance of decay curves of SF6 tracer gas was evaluated and compared. The wooden building in Szalowa, due to its more open structure, developed about one order higher ventilation rates (e.g., 0.9-1.3 h(-1)) than the stone church in Cracow (e.g., 0.1 h(-1)). The IR-heating affected only modestly the ventilation rate of the wooden church (e.g., 1.2-1.6 h(-1)), but it increased significantly that of the plastered stone church (e.g., 0.27 h(-1)). The ventilation rates were also assessed with the use of the CO2 curve decay method, and satisfactory agreement was found with those observed by the use of SF6 tracer. The spatial distribution of the studied gaseous pollutants (CO2, H2O) was found to be in some occasions nonhomogeneous in both buildings, due to the active usage of the IR-heating, especially, during a couple of consecutive liturgical services. Besides the pollution events due to ingress of gaseous air pollutants, present at enhanced levels outdoors, increased CO, CO2 and H2CO peaks were observed indoors too, which, in most cases, could be associated with incense burning. (C) 2018 Elsevier Masson SAS. All rights reserved.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Laboratory Experimental Medicine and Pediatrics (LEMP)
DOI: 10.1016/J.CULHER.2018.09.007
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“MA-XRF imaging as a tool to characterize the 16th century heraldic stained-glass panels in Ghent Saint Bavo Cathedral”. Legrand S, van der Snickt G, Cagno S, Caen J, Janssens K, Journal of cultural heritage 40, 163 (2019). http://doi.org/10.1016/J.CULHER.2019.06.003
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.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1016/J.CULHER.2019.06.003
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“All crystal clear : 18th-century glass à, la façon de Bohème from the cistercian nunnery of Clairefontaine, Belgium”. Herremans D, Cagno S, Vincke A, Janssens K, De Clercq W, Journal of glass studies 55, 137 (2013)
Abstract: Excavations at the Cistercian nunnery of Clairefontaine, located near Arlon in the south of Belgium, revealed an assemblage of 18th-century colorless glass. The morphology of the vessels and the engraved decoration suggest a central European origin or, at least, stylistic inspiration. The composition of the glass points to a recipe combining silica, lime, and potash: a colorless potash glass a la facon de Boheme. This article considers the technology, morphology, and origin of the vessels. The art-historical analysis is supported by chemical research (scanning electron microscopy energy-dispersive X-ray spectroscopy [SEM-EDX]). The finds are also discussed in light of the emerging northwestern European glass industry, changing consumer practices during the 18th century, and their meaning for the inhabitants of the abbey.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Lead soaps in paintings : friends or foes?”.Cotte M, Checroun E, De Nolf W, Taniguchi Y, De Viguerie L, Burghammer M, Walter P, Rivard C, Salome M, Janssens K, Susini J, Studies in conservation 62, 2 (2017). http://doi.org/10.1080/00393630.2016.1232529
Abstract: The origin(s) and role(s) of metal soaps in paints are a worldwide concern today. These hybrid compounds, containing both fatty acid chains and metals associated with a carboxylate function, are increasingly identified in paints. As reviewed in the first part of this work, the presence of metal soaps in paints is differently interpreted in scientific publications: metal soaps are sometimes considered to play a positive role as anchor points, during paint drying processes; they can also be considered as responsible for many degradation processes (protrusions, efflorescences, darkening, etc.). Their origins are also interpreted in various ways. In some paintings (in particular from the twentieth century), they have sometimes introduced on purpose, as additives, to modify the physical properties of the painting materials. In older paintings, metal soaps are usually thought to result from an uncontrolled reaction of oil with lead-based pigments, in particular lead white, red lead, and lead tin yellow. In the second part of this work, the review of historical recipes of lead-based paint shows an important number of recipes based on controlled mixing of oil with lead driers. In the third part, the experimental reproduction of such traditional recipes using walnut oil and litharge (PbO) shows that lead soaps can be formed, both in about one hour at approximate to 100 degrees C, or in about one month at room temperature. It shows as well that after a few years, litharge is no longer detected in the paint medium, while different lead carbonates are. Finally, the micro-infrared spectroscopy and micro-X-ray diffraction re-analysis of protrusions from a nine-year model painting shows together with lead soaps, the presence of Pb-5(CO3)(3)(OH)(2)O ('synthetic plumbonacrite'), an unusual phase recently observed in a protrusion from a painting by Vincent Van Gogh. This work highlights (i) the multiple origins and roles of metal soaps in paints and (ii) the importance of combining the analysis of fragments from historical paintings with the analysis and reproduction of historical recipes. In particular, we show that the components detected today in historical paintings may severely differ from those originally used or prepared by the painter, complicating the assessment of the painter's intentions. More than the presence of metal soaps, the key questions to be tackled should be about their origins and (re)mobilization.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 0.578
Times cited: 26
DOI: 10.1080/00393630.2016.1232529
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“Study of the influence of water and oxygen on the morphology and chemistry of pyritized lignite: Implications for the development of a preventive drying protocol”. Odin GP, Belhadj O, Vanmeert F, Janssens K, Wattiaux A, Francois A, Rouchon V, Journal Of Cultural Heritage 42, 117 (2020). http://doi.org/10.1016/J.CULHER.2019.08.004
Abstract: Lignite constitutes a unique testimony of past diversity and evolution of land plants. This material, usually waterlogged, is particularly difficult to dry because of its mechanical sensitivity to moisture changes. In addition, lignite may contain organic and inorganic sulfides, which are susceptible to oxidation once excavated. As a result, the conservation of lignite is particularly complicated and lignite remains scarce in paleobotanical collections. We experimentally test different drying protocols on waterlogged pyritized lignite, while documenting the respective role of water and oxygen on their morphology and chemistry. The results reveal that inorganic sulfides (pyrite) are more prone to oxidation than organic sulfides (thioethers). Critically, water is the main factor responsible for this oxidation, provoking sulfate efflorescence when samples are further exposed to oxygen. On the other hand, an abrupt removal of water provokes significant mechanical damage while sulfur remains mostly present as reduced compounds. The control of water and oxygen exchanges is thus critical for conserving lignite without physical damage and efflorescence. We successfully achieved this by storing the samples in hermetically sealed plastic bags made of semi-permeable films, which slowly release humidity while allowing a gradual influx of oxygen. We advise curators to quickly handle lignite once removed from its waterlogged environment because of the fast kinetics of oxidation, and to choose a drying protocol according to the purpose of the lignite treated. Finally, once dried, we advise to store the lignite in an anhydrous environment. (C) 2019 Elsevier Masson SAS. All rights reserved.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.1
DOI: 10.1016/J.CULHER.2019.08.004
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“Conservation of stained glass windows with protective glazing : main results from the European VIDRIO research programme”. Bernardi A, Becherini F, Verità, M, Godoi RHM, Kontozova-Deutsch V, Van Grieken R, et al, Journal of cultural heritage 14, 527 (2013). http://doi.org/10.1016/J.CULHER.2012.11.009
Abstract: The methodology of protecting the European stained glass windows against environmental risk (e.g. meteorological factors, air pollution, microorganisms) by means of an external glazing is not new. In spite of many scientific studies carried out in the last 20 years, some questions were still up for discussion. The European VIDRIO (20022005) project gave an answer to these questions. The research carried out by the different project partners established a new multidisciplinary approach aimed at evaluating the efficiency of the protective glazing systems and their effects on stained glass windows conservation, and finally at assessing the most appropriate strategy to preserve stained glass windows. Scientific results showed that the so-called isothermal glazing (i.e. ventilation by the air coming from the inside of the building) protected efficiently the ancient stained glass window from environmental attack (i.e. rain, pollutants, condensation, thermal shocks) with very limited secondary effects. The scientific research highlighted that its efficiency was strongly related to the technical design of the protective system. In particular, the ventilation and the size of the interspace had to be carefully considered. The research developed within the VIDRIO project was turned into general recommendations to the owners and practitioners on the best practice for the stained glass windows future conservation.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1016/J.CULHER.2012.11.009
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“Understanding air-tight case environments at the National Museum of the American Indian (Smithsonian Institution) by SPME-GC-MS analysis”. Alvarez-Martin A, McHugh K, Martin C, Kavich G, Kaczkowski R, Journal Of Cultural Heritage 44, 38 (2020). http://doi.org/10.1016/J.CULHER.2020.01.004
Abstract: Some volatile organic compounds (VOCs), generated and accumulated in exhibition cases, are capable of inducing degradation in historical artifacts. In this context, it is of special importance to distinguish between VOCs emitted by the construction materials and/or the historical objects, with the ultimate goal of proposing an appropriate mitigation strategy. To pursue this goal, a comprehensive analysis based on solid phase microextraction (SPME) coupled to gas chromatography-mass spectrometry (GC-MS) has been optimized. The sampling setup used in this study does not require any modification of the exhibition design, and the testing remained nearly invisible and unobtrusive to museum visitors. This methodology has been applied to an issue encountered at the National Museum of the American Indian (Smithsonian Institution), where an unpleasant smell was detected in airtight exhibition cases already on display containing sensitive historical objects. The analysis of the volatiles emitted by construction materials allowed for identification of characteristic markers emitted by each material, and the ability to identify their overall contribution in the exhibition case. Via this method, SPME-GC-MS confirmed via the detection of some specific markers that the unpleasant smell was released by one of the construction materials and had accumulated in the exhibition case. In addition, due to the measurements taken in different positions around the exhibition cases, results were useful to point out the range of efficiency of the sorbent material placed in some of the exhibition cases as a first attempt of mitigation technique. (C) 2020 Elsevier Masson SAS. All rights reserved.
Keywords: A1 Journal article; Art; History; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.1
DOI: 10.1016/J.CULHER.2020.01.004
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“The colour of silver stained glass : analytical investigations carried out with XRF, SEM/EDX, TEM and IBA”. Jembrih-Simbürger D, Neelmeijer C, Schalm O, Fredrickx P, Schreiner M, De Vis K, Mäder M, Schryvers D, Caen J, Journal of analytical atomic spectrometry 17, 321 (2002). http://doi.org/10.1039/b111024c
Abstract: Glass treated on its surface with silver compounds and an aluminosilicate, such as ochre or clay, at higher temperatures (between 550 and 650 °C) accepts a wide variety of a yellow colour. It is the aim of this study to investigate the parameters of the manufacturing process affecting the final colour of silver stained glass and to correlate them with the final colour and colour intensity. Therefore, defined mixtures of ochre and a silver compound (AgCl, AgNO3, Ag2SO4, Ag3PO4, Ag2O) were prepared and applied on soda-lime glass. The firing process was modified within the range from 563 to 630 °C and glass samples were analysed after treatment with energy dispersive X-ray fluorescence analysis (EDXRF), scanning electron microscopy (SEM/EDX), transmission electron microscopy (TEM), as well as ion beam analysis (IBA) with an external beam. Within the scope of IBA simultaneous measurements using particle-induced X-ray emission (PIXE), particle-induced gamma-ray emission (PIGE), and Rutherford backscattering spectrometry (RBS) were carried out in order to obtain the thickness of the Ag-rich surface layer and the depth distribution of Ag. By means of TEM the microstructure of the silver particles was visualised. XRF results show that the lowest amount of Ag could be detected on glass samples treated with silver stain mixtures containing AgCl and Ag2O. A low kiln temperature (e.g. 563 °C) results in a higher silver concentration at the surface and lower penetration depths. Furthermore, the results obtained with SEM/EDX at cross-sections of the glass samples could be confirmed by PIXE, PIGE, RBS, and TEM.
Keywords: A1 Journal article; Art; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.379
Times cited: 42
DOI: 10.1039/b111024c
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“Removal of a past varnish treatment from a 19th-century Belgian wall painting by means of a solvent-loaded double network hydrogel”. Al-Emam E, Beltran V, De Meyer S, Nuyts G, Wetemans V, De Wael K, Caen J, Janssens K, Polymers 13, 2651 (2021). http://doi.org/10.3390/POLYM13162651
Abstract: Polymeric materials have been used by painting conservator-restorers as consolidants and/or varnishes for wall paintings. The application of these materials is carried out when confronting loose paint layers or as a protective coating. However, these materials deteriorate and cause physiochemical alterations to the treated surface. In the past, the monumental neo-gothic wall painting 'The Last Judgment' in the chapel of Sint-Jan Berchmanscollege in Antwerp, Belgium was treated with a synthetic polymeric material. This varnish deteriorated significantly and turned brown, obscuring the paint layers. Given also that the varnish was applied to some parts of the wall painting and did not cover the entire surface, it was necessary to remove it in order to restore the original appearance of the wall painting. Previous attempts carried out by conservator-restorers made use of traditional cleaning methods, which led to damage of the fragile paint layers. Therefore, gel cleaning was proposed as a less invasive and more controllable method for gently softening and removing the varnish. The work started by identifying the paint stratigraphy and the deteriorated varnish via optical microscopy (OM), scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDX), X-ray diffraction (XRD), and Fourier-transform infrared (FTIR) spectroscopy. A polyvinyl alcohol-borax/agarose (PVA-B/AG) hydrogel loaded with a number of solvents/solvent mixtures was employed in a series of tests to select the most suitable hydrogel composite. By means of the hydrogel composite loaded with 10% propylene carbonate, it was possible to safely remove the brown varnish layer. The results were verified by visual examinations (under visible light 'VIS' and ultraviolet light 'UV') as well as OM and FTIR spectroscopy.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES); Antwerp Electrochemical and Analytical Sciences Lab (A-Sense Lab); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 3.364
DOI: 10.3390/POLYM13162651
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“Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius”. Simoen J, De Meyer S, Vanmeert F, De Keyser N, Avranovich E, van der Snickt G, Van Loon A, Keune K, Janssens K, Heritage science 7, 83 (2019). http://doi.org/10.1186/S40494-019-0324-4
Abstract: The spontaneous chemical alteration of artists' pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As2S3) or realgar (alpha-As4S4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (mu-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO4), mimetite (Pb-5(AsO4)(3)Cl), palmierite (K2Pb(SO4)(2)) and syngenite (K2Ca(SO4)(2)center dot H2O) have formed. Closer inspection of the cross-sectioned paint layer stack with mu-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 2
DOI: 10.1186/S40494-019-0324-4
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“Imaging secondary reaction products at the surface of Vermeer's Girl with the Pearl Earring by means of macroscopic X-ray powder diffraction scanning”. De Meyer S, Vanmeert F, Vertongen R, van Loon A, Gonzalez V, van der Snickt G, Vandivere A, Janssens K, Heritage science 7, 67 (2019). http://doi.org/10.1186/S40494-019-0309-3
Abstract: The use of non-invasive macroscopic imaging techniques is becoming more prevalent in the field of cultural heritage, especially to avoid invasive procedures that damage valuable artworks. For this purpose, an X-ray powder diffraction scanner (MA-XRPD) capable of visualising crystalline compounds in a highly specific manner was recently developed. Many inorganic pigments present in paintings fall into this category of materials. In this study, the 17th century oil painting Girl with a Pearl Earring (c. 1665) by Johannes Vermeer was analysed with a combination of transmission and reflection mode MA-XRPD. By employing this scanner in reflection mode, the relative sensitivity for compounds that are present at the paint surface could be increased, establishing it as a highly relevant technique for investigating the degradation processes that are ongoing at paint surfaces. Many of the original pigments employed by Vermeer could be identified, along with four secondary alteration products: gypsum (CaSO4 center dot 2H(2)O), anglesite (PbSO4), palmierite (K2Pb(SO4)(2)) and weddellite (CaC2O4 center dot 2H(2)O). The formation of gypsum was linked to the presence of chalk in the upper glaze layer while the formation of palmierite and weddellite is driven by the presence of lake pigments (and their substrates). In this manner, MA-XRPD can also be used to pinpoint locations relevant for sampling and synchrotron mu-XRPD analysis, which provides information on the microscopic make-up of the paint. A paint cross-section taken from an area rich in palmierite was analysed with synchrotron mu-XRPD, which confirmed the presence of this secondary compound at the interface of the upper paint layer with the ground layer as well as the presence of anglesite in the ground layer. The capacity of MA-XRPD to identify and chart secondary alteration products in a non-invasive manner has only very recently been demonstrated and makes it a highly relevant technique for the assessment of the chemical condition of works of art.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 5
DOI: 10.1186/S40494-019-0309-3
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“The young Van Dyck's fingerprint : a technical approach to assess the authenticity of a disputed painting”. Harth A, van der Snickt G, Schalm O, Janssens K, Blanckaert G, Heritage science 5, 22 (2017). http://doi.org/10.1186/S40494-017-0136-3
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.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 1
DOI: 10.1186/S40494-017-0136-3
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“Characterization of polyvinyl alcohol-borax/agarose (PVA-B/AG) double network hydrogel utilized for the cleaning of works of art”. Al-Emam E, Soenen H, Caen J, Janssens K, Heritage science 8, 106 (2020). http://doi.org/10.1186/S40494-020-00447-3
Abstract: Since cleaning of artworks may cause undesirable physicochemical alterations and is a nonreversible procedure, it is mandatory to adopt the proper cleaning procedure. Such a procedure should remove undesired materials whilst preserving the original surface. In this regard, numerous gels have been developed and exploited for the cleaning of various artwork surfaces. Lately, agarose (AG) and polyvinyl alcohol-borax (PVA-B) hydrogels have been widely employed as cleaning tools by conservators. Both hydrogels show some limitations in specific cleaning practices. In this work, we investigated the influence of including increased levels of agarose into PVA-B systems. For this reason, we performed a detailed characterization on the double network (DN) hydrogel including the chemical structure, the liquid phase retention, the rheological behavior, and the self-healing behavior of various PVA-B/AG double network hydrogels. These new hydrogels revealed better properties than PVA-B hydrogels and obviated their limitations. The inclusion of AG into PVA-B systems enhanced the liquid retention capacity, shape-stability, and mechanical strength of the blend. Furthermore, AG minimized the expelling/syneresis issue that occurs when loading PVA-B systems with low polarity solvents or chelating agents. The resultant double network hydrogel exhibits relevant self-healing properties. The PVA-B/AG double network is a new and useful cleaning tool that can be added to the conservators' tool-kit. It is ideal for cleaning procedures dealing with porous and complex structured surfaces, vertical surfaces and for long time applications.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Impact Factor: 2.5
Times cited: 1
DOI: 10.1186/S40494-020-00447-3
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