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“EXRS2022 : the 2022 edition of the European X-ray Spectrometry conference, held in Bruges, Belgium”. Janssens K, X-ray spectrometry 52, 276 (2023). http://doi.org/10.1002/XRS.3386
Keywords: Editorial; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 1.2
DOI: 10.1002/XRS.3386
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“Multi-scale X-ray imaging of the pigment discoloration processes triggered by chlorine compounds in the Upper Basilica of Saint Francis of Assisi”. Avranovich Clerici E, De Meyer S, Vanmeert F, Legrand S, Monico L, Miliani C, Janssens K, Molecules: a journal of synthetic chemistry and natural product chemistry 28, 6106 (2023). http://doi.org/10.3390/MOLECULES28166106
Abstract: In this paper, the chromatic alteration of various types of paints, present on mural painting fragments derived from the vaults of The Upper Basilica of Saint Francis of Assisi in Italy (12th-13th century), is studied using synchrotron radiation. Six painted mural fragments, several square centimeters in size, were available for analysis, originating from the ceiling paintings attributed to Cimabue and Giotto; they correspond to originally white, blue/green, and brown/yellow/orange areas showing discoloration. As well as collecting macroscopic X-ray fluorescence and diffraction maps from the entire fragments in the laboratory and at the SOLEIL synchrotron, corresponding paint cross-sections were also analyzed using microscopic X-ray fluorescence and powder diffraction mapping at the PETRA-III synchrotron. Numerous secondary products were observed on the painted surfaces, such as (a) copper tri-hydroxychloride in green/blue areas; (b) corderoite and calomel in vermillion red/cinnabar-rich paints; (c) plattnerite and/or scrutinyite assumed to be oxidation products of (hydro)cerussite (2PbCO(3)center dot Pb(OH)(2)) in the white areas, and (d) the calcium oxalates whewellite and weddellite. An extensive presence of chlorinated metal salts points to the central role of chlorine-containing compounds during the degradation of the 800-year-old paint, leading to, among other things, the formation of the rare mineral cumengeite (21PbCl(2)center dot 20Cu(OH) (2) center dot 6H(2)O).
Keywords: A1 Journal article; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 4.6
DOI: 10.3390/MOLECULES28166106
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“Total electron yield (TEY) detection mode Cr K-edge XANES spectroscopy as a direct method to probe the composition of the surface of darkened chrome yellow (PbCr1-xSxO4) and potassium chromate paints”. Monico L, d'Acapito F, Cotte M, Janssens K, Romani A, Ricci G, Miliani C, Cartechini L, Nuclear instruments and methods in physics research: B: beam interactions with materials and atoms 539, 141 (2023). http://doi.org/10.1016/J.NIMB.2023.03.040
Abstract: The darkening of chromate-pigments, including chrome yellows (PbCr1-xSxO4), is a surface phenomenon affecting late 19th-early 20th c. paintings, such as those by Van Gogh. Exploring analytical strategies that contribute to a deep understanding of darkening is therefore significant for the long-term conservation of unique masterpieces. Here, we examined the capabilities of Cr K-edge XANES spectroscopy collected at the same time in X-ray fluorescence yield (XFY) and total electron yield (TEY) detection modes to selectively study the surface composition of darkened oil paint mock-ups composed of chrome yellow (PbCr0.2S0.8O4) or potassium chromate. By discussing advantages and drawbacks in using XFY/TEY modes in relation to XFY & mu;-XANES analysis from sectioned samples, we aim at assessing if TEY-XANES spectroscopy: (i) is a selective surface method to determine the abundance of different Cr-species from paint fragments; (ii) can contribute to optimize the analytical strategy by limiting time consuming sample preparation procedures; (iii) can decrease the probability of radiation damage.
Keywords: A1 Journal article; Engineering sciences. Technology; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 1.3
DOI: 10.1016/J.NIMB.2023.03.040
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“Towards a novel strategy for soot removal from water-soluble materials : the synergetic effect of hydrogels and cyclomethicone on gelatine emulsion-based photographs”. Ortega Saez N, Arno R, Marchetti A, Cauberghs S, Janssens K, Van der Snickt G, Al-Emam E, Heritage science 11, 78 (2023). http://doi.org/10.1186/S40494-023-00916-5
Abstract: Gels are a popular cleaning method for paper conservators and a lot of research has been done concerning gel cleaning of paper objects over the last 15 years. Despite the close interconnection between the conservation fields of paper and photographic material, research on using gels for cleaning photographs is very scarce. However, gels can provide an excellent cleaning method for photographic material. Cleaning silver gelatine prints with aqueous solvents is very complex due to the hydrophilic properties and fragility of the gelatine layer which makes mechanical cleaning difficult. The properties of gels ensure better control over the flow and evaporation of the solvent, facilitating the cleaning process. This study is the first insight into the viability of using gellan gum gel and polyvinyl acetate-borax (PVAc-borax) gel to clean contaminants from the surface of silver gelatine photographs. It is based on self-made samples that were artificially aged and contaminated with soot. Water, ethanol (EtOH), and Kodak Photo-flo were studied as solvents to remove the soot from the silver gelatine-based prints. These solvents were loaded into the aforementioned gels and applied to the samples in two different methods. These gel cleaning methods were subsequently compared with traditional cleaning methods. In addition, the usage of cyclomethicone D4 as a protective mask for the gelatine layer was studied. Measuring methods used to evaluate the cleaning were visual comparison, microscopic observation, and densitometry. ATR-FTIR measurements were also conducted to investigate potential side-effects of the cleaning methods on the prints, such as unwanted chemical transformations or the presence of gel residues after the treatments. Most of the gel cleaning methods within this study proved to be inadequate, with the exception of the gellan gum gel loaded with 30% EtOH. It was used as a granulated gel applied mechanically on a print saturated with cyclomethicone (octamethylcyclotetrasiloxane D4). Cyclomethicone proved to be a very effective protective barrier for the water-sensitive gelatine layer with minimal reduction in cleaning effectiveness.
Keywords: A1 Journal article; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 2.5
DOI: 10.1186/S40494-023-00916-5
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“Two pathways for the degradation of orpiment pigment (As₂S₃) found in paintings”. Broers FTH, Janssens K, Weker JN, Webb SM, Mehta A, Meirer F, Keune K, Journal of the American Chemical Society 145, 8847 (2023). http://doi.org/10.1021/JACS.2C12271
Abstract: Paintings are complex objects containing many different chemical compounds that can react over time. The degradation of arsenic sulfide pigments causes optical changes in paintings. The main degradation product was thought to be white arsenolite (As2O3), but previous research also showed the abundant presence of As(V) species. In this study, we investigate the influence of the presence of a medium on the degradation mechanism of orpiment (As2S3) using synchrotron radiation (SR)-based tomographic transmission X-ray microscopy, SR-based micro-X-ray fluorescence, and Xray absorption near edge structure spectroscopy. Upon direct illumination of dry orpiment powder using UV-visible light, only the formation of As2O3 was observed. When As2S3 was surrounded by a medium and illuminated, As2O3 was only observed in the area directly exposed to light, while As(V) degradation species were found elsewhere in the medium. Without accelerated artificial light aging, As(V)(aq) species are formed and migrate throughout the medium within weeks after preparation. In both scenarios, the As(V) species form via intermediate As(III)(aq) species and the presence of a medium is necessary. As(V)(aq) species can react with available cations to form insoluble metal arsenates, which induces stress within the paint layers (leading to, e.g., cracks and delamination) or can lead to a visual change of the image of the painting.
Keywords: A1 Journal article; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 15
DOI: 10.1021/JACS.2C12271
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“A combined experimental and computational approach to understanding CdS pigment oxidation in a renowned early 20th century painting”. Mayda S, Monico L, Krishnan D, De Meyer S, Cotte M, Garrevoet J, Falkenberg G, Sandu ICA, Partoens B, Lamoen D, Romani A, Miliani C, Verbeeck J, Janssens K, Chemistry of materials 35, 10403 (2023). http://doi.org/10.1021/ACS.CHEMMATER.3C01470
Abstract: Cadmium sulfide (CdS)-based yellow pigments have been used in a number of early 20th century artworks, including The Scream series painted by Edvard Munch. Some of these unique paintings are threatened by the discoloration of these CdS-based yellow oil paints because of the oxidation of the original sulfides to sulfates. The experimental data obtained here prove that moisture and cadmium chloride compounds play a key role in promoting such oxidation. To clarify how these two factors effectively prompt the process, we studied the band alignment between CdS, CdCl2, and Cd-(OH)Cl as well as the radicals center dot OH and H3O center dot by density functional theory (DFT) methods. Our results show that a stack of several layers of Cd-(OH)Cl creates a pocket of positive holes at the Cl-terminated surface and a pocket of electrons at the OH-terminated surface by leading in a difference in ionization energy at both surfaces. The resulting band alignment indicates that Cd-(OH)Cl can indeed play the role of an oxidative catalyst for CdS in a moist environment, thus providing an explanation for the experimental evidence.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); Condensed Matter Theory (CMT); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 8.6
DOI: 10.1021/ACS.CHEMMATER.3C01470
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“Chemical mapping of the degradation of geranium lake in paint cross sections by MALDI-MSI”. Alvarez-Martin A, Quanico J, Scovacricchi T, Avranovich Clerici E, Baggerman G, Janssens K, Analytical chemistry 95, 18215 (2023). http://doi.org/10.1021/ACS.ANALCHEM.3C03992
Abstract: Matrix assisted laser desorption ionization-mass spectrometry imaging (MALDI-MSI) has become a powerful method to extract spatially resolved chemical information in complex materials. This study provides the first use of MALDI-MSI to define spatial–temporal changes in oil paints. Due to the highly heterogeneous nature of oil paints, the sample preparation had to be optimized to prevent molecules from delocalizing. Here, we present a new protocol for the layer-specific analysis of oil paint cross sections achieving a lateral resolution of 10 μm and without losing ionization efficiency due to topographic effects. The efficacy of this method was investigated in oil paint samples containing a mixture of two historic organic pigments, geranium lake and lead white, a mixture often employed in the work of painter Vincent Van Gogh. This methodology not only allows for spatial visualization of the molecules responsible for the pink hue of the paint but also helps to elucidate the chemical changes behind the discoloration of paintings with this composition. The results demonstrate that this approach provides valuable molecular compositional information about the degradation pathways of pigments in specific paint layers and their interaction with the binding medium and other paint components and with light over time. Since a spatial correlation between molecular species and the visual pattern of the discoloration pattern can be made, we expect that mass spectrometry imaging will become highly relevant in future degradation studies of many more historical pigments and paints.
Keywords: A1 Journal article; Antwerp X-ray Imaging and Spectroscopy (AXIS); Ecosphere
Impact Factor: 7.4
DOI: 10.1021/ACS.ANALCHEM.3C03992
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“Correlated x-ray fluorescence and ptychographic nano-tomography on Rembrandt's The Night Watch reveals unknown lead “layer””. Broers FTH, Verslype I, Bossers KW, Vanmeert F, Gonzalez V, Garrevoet J, van Loon A, va Duijn E, Krekeler A, De Keyser N, Steeman I, Noble P, Janssens K, Meirer F, Keune K, Science Advances 9, eadj9394 (2023). http://doi.org/10.1126/SCIADV.ADJ9394
Abstract: The Night Watch, one of the most famous masterpieces by Rembrandt, is the subject of a large research and conservation project. For the conservation treatment, it is of great importance to understand its current condition. Correlated nano-tomography using x-ray fluorescence and ptychography revealed a-so far unknown-lead-containing “layer”, which likely acts as a protective impregnation layer applied on the canvas before the quartz-clay ground was applied. This layer might explain the presence of lead soap protrusions in areas where no other lead components are present. In addition to the three-dimensional elemental mapping, ptychography visualizes and quantifies components not detectable by hard x-ray fluorescence such as the organic fraction and quartz. The first-time use of this combination of synchrotron-based techniques on a historic paint micro-sample shows it to be an important tool to better interpret the results of noninvasive imaging techniques operating on the macroscale.
Keywords: A1 Journal article; Engineering sciences. Technology; Art; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 13.6
DOI: 10.1126/SCIADV.ADJ9394
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“An extensive multisensor hyperspectral benchmark datasets of intimate mixtures of mineral powders”. 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, 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 , 5890 (2023). http://doi.org/10.1109/IGARSS52108.2023.10281467
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)
Keywords: P1 Proceeding; Economics; Vision lab; Antwerp X-ray Imaging and Spectroscopy (AXIS)
DOI: 10.1109/IGARSS52108.2023.10281467
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“A multisensor hyperspectral benchmark dataset for unmixing of intimate mixtures”. Koirala B, Rasti B, Bnoulkacem Z, de Lima Ribeiro A, Madriz Y, Herrmann E, Gestels A, De Kerf T, Lorenz S, Fuchs M, Janssens K, Steenackers G, Gloaguen R, Scheunders P, IEEE sensors journal 24, 4694 (2024). http://doi.org/10.1109/JSEN.2023.3343552
Abstract: Optical hyperspectral cameras capture the spectral reflectance of materials. 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 laboratory ground truth dataset of intimately mixed mineral powders. For this, five clay powders (Kaolin, Roof clay, Red clay, mixed clay, and Calcium hydroxide) were mixed homogeneously to prepare 325 samples of 60 binary, 150 ternary, 100 quaternary, and 15 quinary mixtures. Thirteen different hyperspectral sensors have been used to acquire the reflectance spectra of these mixtures in the visible, near, short, mid, and long-wavelength infrared regions (350-15385) nm. Overlaps in wavelength regions due to the operational ranges of each sensor and variations in acquisition conditions resulted in a large amount of spectral variability. Ground truth composition is given by construction, but to verify that the generated samples are sufficiently homogeneous, XRD and XRF elemental analysis is performed. We believe these data will be beneficial for validating advanced methods for nonlinear unmixing and material composition estimation, including studying spectral variability and training supervised unmixing approaches. The datasets can be downloaded from the following link: https://github.com/VisionlabHyperspectral/Multisensor_datasets.
Keywords: A1 Journal article; Engineering sciences. Technology; Vision lab; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 4.3
DOI: 10.1109/JSEN.2023.3343552
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“Reconstructing Sweerts : practical insights into the historical dark halo technique based on paint reconstructions”. Derks K, Youchaeva M, Van der Snickt G, Van der Stighelen K, Janssens K, , 259 (2024)
Keywords: P1 Proceeding; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
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“Combined macro X-ray fluorescence (MA-XRF) and pulse phase thermography (PPT) imaging for the technical study of panel paintings”. Deleu N, Hillen M, Steenackers G, Borms G, Janssens K, Van der Stighelen K, Van der Snickt G, Talanta : the international journal of pure and applied analytical chemistry 270, 125533 (2024). http://doi.org/10.1016/J.TALANTA.2023.125533
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.
Keywords: A1 Journal article; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 6.1
DOI: 10.1016/J.TALANTA.2023.125533
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“Darkening of lead white in old master drawings and historic prints : a multi-analytical investigation”. Pastorelli G, Miranda ASO, Avranovich Clerici E, d'Imporzano P, Hansen BV, Janssens K, Davies GR, Borring N, Microchemical journal 199, 109912 (2024). http://doi.org/10.1016/J.MICROC.2024.109912
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.
Keywords: A1 Journal article; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 4.8
DOI: 10.1016/J.MICROC.2024.109912
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“Atomically dispersed ruthenium hydride on beta zeolite as catalysts for the isomerization of muconates”. Khalil I, Rigamonti MG, Janssens K, Bugaev A, Arenas Esteban D, Robijns S, Donckels T, Beydokhti MT, Bals S, De Vos D, Dusselier M, Nature Catalysis 7, 921 (2024). http://doi.org/10.1038/S41929-024-01205-5
Abstract: Searching for sustainable polymers requires access to biomass-based monomers. In that sense, glucose-derived cis,cis-muconic acid stands as a high-potential intermediate. However, to unlock its potential, an isomerization to the value-added trans,trans-isomer, trans,trans-muconic acid, is required. Here we develop atomically dispersed low-loaded Ru on beta zeolite catalysts that produce trans,trans-muconate in ethanol with total conversion (to equilibrium) and a selectivity of >95%. We reach very high turnovers per Ru and productivity rates of 427 mM h(-1) (similar to 85 g l(-1) h(-1)), surpassing the bio-based cis,cis-muconic acid production rates by an order of magnitude. By coupling isomerization to Diels-Alder cycloaddition, terephthalate intermediates are produced in around 90% yields, circumventing the isomer equilibrium. Isomerization is promoted by Ru hydride species where the hydrides are generated from the alcohol solvent, as evidenced by Fourier transform infrared spectroscopy. Beyond isomerization, the Ru-zeolite and its hydride-forming capacity could be of use as a heterogeneous catalyst for other hydride chemistries, demonstrated by a successful hydride transfer hydrogenation.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT)
Impact Factor: 37.8
DOI: 10.1038/S41929-024-01205-5
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“Discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's The Night Watch : analytical study and historical contextualization”. De Keyser N, Broers FTH, Vanmeert F, van Loon A, Gabrieli F, De Meyer S, Gestels A, Gonzalez V, Hermens E, Noble P, Meirer F, Janssens K, Keune K, Heritage science 12, 237 (2024). http://doi.org/10.1186/S40494-024-01350-X
Abstract: This article reports on the discovery of pararealgar and semi-amorphous pararealgar in Rembrandt's masterpiece The Night Watch. A large-scale research project named Operation Night Watch was started in 2019. A variety of non-invasive analytical imaging techniques, together with paint sample research, has provided new information about Rembrandt's pigments, materials, and techniques as well as the current condition of the painting. Macroscopic X-ray fluorescence, macroscopic X-ray powder diffraction and reflectance imaging spectroscopy identified the presence of arsenic sulfide pigments and degradation products of these pigments in the doublet sleeves and embroidered buff coat worn by Lieutenant Willem van Ruytenburch (central figure to the right of Captain Frans Banninck Cocq). Examination by light microscopy of two paint samples taken from this area shows a mixture of large sharp-edged tabular yellow and orange to red pigment particles, and scanning electron microscopy-energy dispersive X-ray analysis identified these particles as containing arsenic and sulfur. Using micro-Raman spectroscopy, the yellow particles were identified as pararealgar, and the orange to red particles as semi-amorphous pararealgar. Synchrotron-based X-ray diffraction allowed visualization of the presence of multiple degradation products associated with arsenic sulfides throughout the paint layer. The discovery of pararealgar and semi-amorphous pararealgar is a new addition to Rembrandt's pigment palette. To contextualize our findings and to hypothesize why, how, and where Rembrandt obtained the pigments, we studied related historical sources. A comprehensive review of historical sources gives insight into the types of artificial arsenic sulfides that were available and suggests that a broader range of arsenic pigments could have been available in Amsterdam in the seventeenth century than previously thought. This is supported by the use of a very similar mixture of pigments by Willem Kalf (1619-1693), a contemporary artist based in Amsterdam. Together with the condition of the particles in the paint cross sections, this brings us to the conclusion that Rembrandt intentionally used pararealgar and semi-amorphous pararealgar, together with lead-tin yellow and vermilion, to create an orange paint.
Keywords: A1 Journal article; Art; Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 2.5
DOI: 10.1186/S40494-024-01350-X
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“De macroscopische X-straal fluorescentiescanner voor schilderijen”. Janssens K, Van der Snickt G page 36 (2024).
Keywords: H3 Book chapter; Documentation and information; Engineering sciences. Technology; Art; History; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
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“The synergistic influence of metal cations on the drying and viscosity of linseed oil assessed by means of model samples containing synthesised metal carboxylates”. Kirkpatrick S, Sanyova J, Janssens K, van der Snickt G, Heritage science 12, 209 (2024). http://doi.org/10.1186/S40494-024-01309-Y
Abstract: The recent multi-analytical study carried out on the Van Eyck's Ghent Altarpiece showed the simultaneous presence of several kinds of metal carboxylates in oil-rich glaze layers. This outcome raised the question whether these carboxylates had already formed during the preparation of the oil binder by the artists. In the case of early-stage formation, they may have had an impact on the drying rate of the resulting oil, as well as on its handling properties. This hypothesis was investigated using a model system of in-house-prepared linseed oil containing incremental concentrations (2-5-10 wt.%) of relevant metal carboxylates (i.e. Ca-, Zn-, Cu-, and Pb oleates and stearates). This paper describes the influence of these type of molecules on the drying rate of linseed oil and, to an extent, on its viscosity. The drying time of the linseed oil, to which one or more metal carboxylates were added, was measured with a drying recorder while the viscosity was assessed with a rheometer. When introduced together, some of these metal carboxylates act in synergy to shorten the drying time with respect to the situation when the same metal carboxylates were added separately to linseed oil. Mixtures of Ca- and Zn-oleates proved to have a larger effect than other binary combinations. Addition of two metal oleates (combination of Ca/Zn/Cu/Pb) reduced the drying time even more. On the other hand, specific combinations of three metal stearates and/or oleates also demonstrated a significant synergistic effect towards increasing the viscosity of the binder. Especially combinations of Ca/Zn/Cu and Ca/Zn/Pb stearates and oleates gave rise to the highest level of linseed oil viscosity increase, when compared to the situation in which the same metal carboxylates were added separately.
Keywords: A1 Journal article; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
Impact Factor: 2.5
DOI: 10.1186/S40494-024-01309-Y
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“Spectrum evaluation”. van Espen P, Janssens K (1992).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Chemometrics (Mitac 3)
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“Study of the early stages of Mn intrusion in corroded glass by means of combined SR FTIR/\muXRF imaging and XANES spectroscopy”. Nuyts G, Cagno S, Hellemans K, Veronesi G, Cotte M, Janssens K, Procedia Chemistry
T2 –, Youth in Conservation of Cultural Heritage Conference (YOCOCU), June 18-20, 2012, University of Antwerp, Antwerp, Belgium , 239 (2013). http://doi.org/10.1016/J.PROCHE.2013.03.030
Abstract: Historical glass, especially medieval glass, can undergo weathering under the influence of time and environmental conditions. The aim of this investigation was to better understand the processes involved in this natural degradation process by studying artificially altered glass samples prepared for the use of evaluation of conservation methods. Non-durable glass sensors produced by the Fraunhofer Institute (type M1.0) were used as a starting material for artificial alteration. These were immersed in acidic (pH = 0, 2, 4) and neutral solutions (1 h – 8 h). In a second stage the glass samples were immersed in a 0.5 M MnCl2 solution (24 h, 48 h and 72 h), allowing intrusion of Mn from the solution into the gel layer. The samples were characterized at different stages with reflectance FTIR spectroscopy, mu XRF mapping and mu XANES. All measurements were carried out at ESRF, beamline ID21. Reflectance FTIR spectroscopy measurements were performed in the 800 4000 cm(-1) range. Cluster analysis of the resulting maps evidenced the rapid growth of the gel layer in strong acidic conditions. The average spectra for each cluster feature show for the original glass a strong Si-O- stretching band between 900 and 1000 cm(-1), whereas the gel layer could be identified by the increasing Si-O-Si bands around 1100 and 1250 cm(-1). mu XRF maps were recorded at different stages of the experiment at energies around the Mn-K edge (6.539 keV) and with a step size of 2 by 2 m. These confirm the leaching of K+ and Ca+2 from the glass and the intrusion of Mn from the solution. Mn was found throughout the entire gel layer, but with a concentration gradient peaking at the surface. XANES point measurements were recorded at various points where Mn was present. No spatial variation was found, but linear combination fitting of the spectra with various Mn reference compounds indicated that Mn2+Mn23+O4 is the main Mn compound in the gel layer, as was hypothesised by Watkinson et al. The standard corroded glass samples studied here can be used for the evaluation of conservation treatments in follow-up experiments. (C) 2013 The Authors. Published by Elsevier B.V. Selection and peer-review under responsibility of the IA-CS (Italian Association of Conservation Scientists) and University of Antwerp
Keywords: P1 Proceeding; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 4
DOI: 10.1016/J.PROCHE.2013.03.030
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“Evaluation of polycapillary lenses as focussing elements in sub-mm XRF analysis of artistic objects”. Vekemans B, Janssens K, Adams F, Andong L, He Y, Yiming Y page 278 (1998).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Simulation of poly-capillary lenses for coherent and partially coherent x-rays”. Vincze L, Kukhlevsky SV, Janssens K, Proceedings of the Society of Photo-optical Instrumentation Engineers
T2 –, Conference on Advances in Computational Methods for X-Ray and Neutron, Optics, AUG 03-05, 2004, Denver, CO , 81 (2004). http://doi.org/10.1117/12.560740
Abstract: The intensity distributions of the coherent and partially coherent x-rays passed through a poly-capillary lens have been computed at the focal plane. The computations showed that at the appropriate experimental conditions the interference phenomenon does affect the intensity distribution. In the case of the coherent input radiation with the photon energy of 0.1 keV, the interference fringes were observed, while the non-coherent x-ray radiation produced no interference-like intensity distributions.
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 6
DOI: 10.1117/12.560740
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“Composition and state of alteration of 18th century glass from the Cistercian nunnery of Clairefontaine (Belgium)”. Herremans D, Cagno S, Vincke A, de Clercq W, Janssens K, Proceedings of the Society of Photo-optical Instrumentation Engineers
T2 –, Conference on Integrated Approaches to the Study of Historical Glass, (IASHG), APR 16-17, 2012, Brussels, BELGIUM , 842206 (2012). http://doi.org/10.1117/12.975247
Abstract: An extended set of 18th century glass vessels was analyzed by means of SEM-EDX (major and minor element composition) The fragmented archaeological objects were recovered from a latrine belonging to the early 18th century building phase of the nunnery of Clairefontaine, near Arlon (B). On the basis of typology and decoration, the major part of the vessels could be dated around the middle of the 18th century. Variety in color and weathering of the glass suggest differences in glassmaking recipes and in the composition and origin of raw materials. The results of the analysis show how two main compositional groups constitute about 90% of the analyzed glass set, and these are constituted by potash glass (transparent beakers) and high lime low alkali glass (green bottles). Next to these, a few potash-lime and soda glasses are also found. The type of alteration has also a clear relation with the original glass composition.
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1117/12.975247
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“Composition of Facon de Venise glass from early 17th century London in comparison with luxury glass of the same age”. Cagno S, de Raedt I, Jeffries T, Janssens K, Proceedings of the Society of Photo-optical Instrumentation Engineers
T2 –, Conference on Integrated Approaches to the Study of Historical Glass, (IASHG), APR 16-17, 2012, Brussels, BELGIUM , 842205 (2012). http://doi.org/10.1117/12.975212
Abstract: SEM-EDX and LA-ICP-MS analyses were performed on a set of early 17th century London glass fragments. The samples originate from two archaeological sites (Aldgate and Old Broad Street) where glass workshops were active in this period. The great majority of the samples are made of soda glass. Two distinct compositional groups are observed, each typical of one site of provenance. The samples originating from the Old Broad Street excavation feature a silica-soda-lime composition, with a moderate amount of potash. The samples from Aldgate are richer in potassium and feature higher amounts of trace elements such as Rb, Zr and Cu. The distinction between the two groups stems from different flux and silica sources used for glassmaking. A comparison with different European glass compositions of that time reveals no resemblance with genuine Venetian production, yet the composition of the Old Broad Street glass shows a close similarity to that of fragments produced 'a la facon de Venise' in Antwerp at the end of the 16th century. This coincides with historical sources attesting the arrival of glassworkers from the Low Countries in England and suggests that a transfer of technology took place near the turn of the century.
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 1
DOI: 10.1117/12.975212
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