| Records |
| Author |
De Meyer, S.; Vanmeert, F.; Vertongen, R.; van Loon, A.; Gonzalez, V.; van der Snickt, G.; Vandivere, A.; Janssens, K. |
Title  |
Imaging secondary reaction products at the surface of Vermeer's Girl with the Pearl Earring by means of macroscopic X-ray powder diffraction scanning |
Type |
A1 Journal article |
| Year |
2019 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
7 |
Issue |
1 |
Pages |
67 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| 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. |
| 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 |
000484938100001 |
Publication Date |
2019-09-08 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
2050-7445 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
5 |
Open Access |
|
| Notes |
; The authors would like to thank Interreg Vlaanderen-Nederland for funding to help develop the MA-rXRPD scanner. This project was made possible with support from the Johan Maurits Compagnie Foundation. This study was supported by Interreg and CALIPSOplus (Grant 730872). ; |
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:162801 |
Serial |
5653 |
| Permanent link to this record |
| |
|
| |
| Author |
van der Snickt, G.; Legrand, S.; Slama, I.; Van Zuien, E.; Gruber, G.; Van der Stighelen, K.; Klaassen, L.; Oberthaler, E.; Janssens, K. |
| Title |
In situ macro X-ray fluorescence (MA-XRF) scanning as a non-invasive tool to probe for subsurface modifications in paintings by PP Rubens |
Type |
A1 Journal article |
| Year |
2018 |
Publication |
Microchemical journal |
Abbreviated Journal |
Microchem J |
| Volume |
138 |
Issue |
138 |
Pages |
238-245 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Within the last decade, the established synchrotron- and laboratory-based micro-XRF scanning technology inspired the development of mobile instruments that allow performing in situ experiments on paintings on a macro scale. Since the development of the first mobile scanner at the start of this decade, this chemical imaging technique has brought new insights with respect to several iconic paintings, especially in cases when standard imaging techniques such as X-Ray Radiography (XRR) or Infrared Refiectography (IRR) yielded ambiguous results. The ability of scanning MA-XRF to visualise the distribution of elements detected at and below the paint surface renders this spectrometric method particularly helpful for studying painting techniques and revealing materials that remain hidden below the paint surface. The latter aspect is especially relevant for the technical study of works by Pieter Paul Rubens (1577-1640) as this highly productive seventeenth century master is particularly renowned for the continuous application of modifications during (and even after) the entire course of the creative process. In this work, the added value of MA-XRF scanning experiments for visualising these subsurface features is exemplified by interpreting the chemical images obtained on three of Rubens' key works. Special attention is given to three types of adjustments that are particularly relevant for the technical study of Rubens' oeuvre: (1) compositional changes ('pentimenti'), exemplified by results obtained on The Portrait of Helene Fourment (ca. 1638), (2) extensions to the support ('Anstlickungen.), illustrated by imaging experiments performed on the Venus Frigida (1614) and (3) Rubens' intriguing halos around flesh tones, as found amongst others in The Incredulity of Saint Thomas (1613). The ensuing insights in the paint stratigraphy and the underlying supporting structure illustrate the potential of MA-XRF scanning for the non-invasive, comparative study of Rubens' oeuvre. The results do not only augment the understanding of the complex genesis of Rubens' works of art and his efficient painting technique, but prove valuable during conservation treatments as well, as addressed in this paper. (C) 2018 Elsevier B.V. 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 |
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| Language |
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Wos |
000428103000027 |
Publication Date |
2018-01-17 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0026-265x; 0026-265x |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
3.034 |
Times cited |
5 |
Open Access |
|
| Notes |
; ; |
Approved |
Most recent IF: 3.034 |
| Call Number |
UA @ admin @ c:irua:151564 |
Serial |
5657 |
| Permanent link to this record |
| |
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| |
| Author |
Peeters, J.; Steenackers, G.; Sfarra, S.; Legrand, S.; Ibarra-Castanedo, C.; Janssens, K.; van der Snickt, G. |
| Title |
IR reflectography and active thermography on artworks : the added value of the 1.53 µm band |
Type |
A1 Journal article |
| Year |
2018 |
Publication |
Applied Sciences |
Abbreviated Journal |
Appl Sci-Basel |
| Volume |
8 |
Issue |
1 |
Pages |
50 |
| Keywords |
A1 Journal article; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Infrared Radiation (IR) artwork inspection is typically performed through active thermography and reflectography with different setups and cameras. While Infrared Radiation Reflectography (IRR) is an established technique in the museum field, exploiting mainly the IR-A (0.71.4 µm) band to probe for hidden layers and modifications within the paint stratigraphy system, active thermography operating in the IR-C range (35 μ m) is less frequently employed with the aim to visualize structural defects and features deeper inside the build-up. In this work, we assess to which extent the less investigated IR-B band (1.53 μ m) can combine the information obtained from both setups. The application of IR-B systems is relatively rare as there are only a limited amount of commercial systems available due to the technical complexity of the lens coating. This is mainly added as a so-called broadband option on regular Mid-wave infrared radiation (MWIR) (IR-C/35 μ m) cameras to increase sensitivity for high temperature applications in industry. In particular, four objects were studied in both reflectographic and thermographic mode in the IR-B spectral range and their results benchmarked with IR-A and IR-C images. For multispectral application, a single benchmark is made with macroscopic reflection mode Fourier transform infrared (MA-rFTIR) results. IR-B proved valuable for visualisation of underdrawings, pencil marks, canvas fibres and wooden grain structures and potential pathways for additional applications such as pigment identification in multispectral mode or characterization of the support (panels, canvas) are indicated. |
| 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 |
000424388800050 |
Publication Date |
2018-01-03 |
| 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 |
|
Edition |
|
| ISSN |
2076-3417 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
1.679 |
Times cited |
4 |
Open Access |
|
| Notes |
; This research has been funded by the University of Antwerp and the Institute for the Promotion of Innovation by Science and Technology in Flanders (VLAIO) by the support to the TETRA project 'SINT: Smart Integration of Numerical modelling and Thermal inspection' with project number HBC.2017.0032. Furthermore, the research leading to these results has received funding from the Research Foundation Flanders (FWO) travel grant V4.010.16N and the Stimpro stimuli of UAntwerpen under project ID 32864. We would like to end with a special thanks to the MiViM research chair of Prof. Xavier Maldague and the support of the full team in supporting the preliminary measurements of this research. ; |
Approved |
Most recent IF: 1.679 |
| Call Number |
UA @ admin @ c:irua:149164 |
Serial |
5677 |
| 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 |
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Place of Publication |
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Editor |
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| Language |
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Wos |
000386395100001 |
Publication Date |
2016-09-07 |
| 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 |
|
| 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 |
| |
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| |
| Author |
van der Snickt, G.; Janssens, K.; Schalm, O.; Aibéo, C.; Kloust, H.; Alfeld, M. |
| Title |
James Ensor's pigment use: artistic and material evolution studied by means of portable X-ray fluorescence spectrometry |
Type |
A1 Journal article |
| Year |
2010 |
Publication |
X-ray spectrometry |
Abbreviated Journal |
X-Ray Spectrom |
| Volume |
39 |
Issue |
2 |
Pages |
103-111 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
In this paper, portable X-ray fluorescence spectrometry (PXRF) was employed as a screening tool for determining and comparing the pigment use in a large series of paintings by the Belgian artist James Ensor (1860-1949). Benefits and drawbacks of PXRF as a method, and the instrument employed, are discussed from a practical, conservation and instrumental perspective. Regardless of several restrictions due to the set-up and/or the analytical method, it appeared feasible to document the evolution with time in Ensor's use of inorganic pigments and to correlate this technical evolution with stylistic developments, Nevertheless, it became clear that a full identification of all materials present can only be done by means of the analysis of (cross-sectioned) samples. |
| 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 |
000275959400006 |
Publication Date |
2009-12-15 |
| 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 |
|
| ISSN |
0049-8246 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
1.298 |
Times cited |
25 |
Open Access |
|
| Notes |
; This research was supported by the Interuniversity Attraction Poles Programme – Belgian Science Policy (IUAP VI/16). The staff of the different museums and private institutions is acknowledged for rendering their assistance to this research, i.e. by making all paintings available for analysis and authorising the publication of the images in this article. Therefore, a word of gratitude to Paul Huvenne, Yolande Deckers, Herwig Todts, Stef Antonissen, Gwen Borms and Lizet Klaassen of the Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA), Luuk Van der Loeff of the Kroller-Muller Museum in Otterlo and Mireille Engel, Barbara De Jong of the Musea aan Zee (MuZee), Patricia Jaspers of the Dexia bank, Hildegard Van de Velde of the KBC bank and Frederik Leen of the Koninklijke Musea voor Schone Kunsten van Belgie (KMSKB). Special thanks to Xavier Tricot and the other members of the Ensor committee for their valuable feedback. ; |
Approved |
Most recent IF: 1.298; 2010 IF: 1.661 |
| Call Number |
UA @ admin @ c:irua:82324 |
Serial |
5680 |
| Permanent link to this record |
| |
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| |
| Author |
van der Snickt, G. |
| Title |
James Ensor's pigments studied by means of portable and synchrotron radiation-based X-ray techniques : evolution, context and degradation |
Type |
Doctoral thesis |
| Year |
2012 |
Publication |
|
Abbreviated Journal |
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| Volume |
|
Issue |
|
Pages |
501 p. |
| Keywords |
Doctoral thesis; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
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| 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 |
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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 |
|
Times cited |
|
Open Access |
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| Notes |
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Approved |
no |
| Call Number |
UA @ admin @ c:irua:100628 |
Serial |
8135 |
| Permanent link to this record |
| |
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| |
| Author |
De Keyser, N.; van der Snickt, G.; Van Loon, A.; Legrand, S.; Wallert, A.; Janssens, K. |
| Title |
Jan Davidsz. de Heem (1606-1684): a technical examination of fruit and flower still lifes combining MA-XRF scanning, cross-section analysis and technical historical sources |
Type |
A1 Journal article |
| Year |
2017 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
5 |
Issue |
|
Pages |
38 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
This article discusses the technical examination of five flower and fruit still life paintings by the seventeenth century artist Jan Davidsz. de Heem (1606-1684). The painter is known for his meticulously composed and finely detailed still life paintings and is a master in imitating the surface textures of various fruits, flowers, and objects. Macro X-ray fluorescence (MA-XRF) scanning experiments were supplemented with a study of paint cross-sections and contemporary art technical sources with the aim of reconstructing the complex build-up of the overall lay-in of the composition and individual subjects. MA-XRF provided information on the distribution of key chemical elements present in painting materials and made it possible to recapture evidence of the different phases in the artist's working methods: from the application of the ground layers, to De Heem's characteristic oval-shaped underpaintings, and finally, the superposition of multiple paint layers in the working up of the paintings. SEM-EDX analysis of a limited number of paint cross-sections complemented the chemical images with local and layer-specific information on the microscale, providing more accuracy on the layer sequence and enabling the study of elements with a low atomic number for which the non-invasive technique is less sensitive. The results from this technical examination were in addition compared with recipes and paint instructions, to obtain a better understanding of the relation between the general practice and actual painting technique of Jan Davidsz. de Heem. Ultimately, this combined approach uncovered new information on De Heem's artistic practice and demonstrated the complementarity of the methods. |
| 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 |
000410414000001 |
Publication Date |
2017-08-14 |
| 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 |
|
| ISSN |
2050-7445 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
5 |
Open Access |
|
| Notes |
; This work is an extension of the Master thesis in Conservation-restoration (University of Antwerp, 2015-2016) of Nouchka De Keyser. Thesis supervisors were Dr. Geert Van der Snickt (Cultural heritage scientist, AXES, UA) and Dr. Olivier Schalm (Research scientist, UA). This research was supported by the Baillet Latour fund. The authors gratefully acknowledge the involved institutes (Rijksmuseum, the Mauritshuis and KMSKA) for the opportunity to examine the still life paintings of Jan Davidsz. de Heem. A great thanks is therefore due to Petria Noble, Pieter Roelofs, Anna Krekeler, Susan Smelt, Robert Erdmann, Abbie Vandivere, Edwin Buijsen and Masayuki Hinoue. SEM-EDX measurements were performed by Katrien Keune, scientific researcher at the Rijksmuseum. ; |
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:145628 |
Serial |
5681 |
| Permanent link to this record |
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| |
| Author |
van der Snickt, G.; Dubois, H.; Sanyova, J.; Legrand, S.; Coudray, A.; Glaude, C.; Postec, M.; van Espen, P.; Janssens, K. |
| Title |
Large-area elemental imaging reveals Van Eyck's original paint layers on the Ghent altarpiece (1432), rescoping its conservation treatment |
Type |
A1 Journal article |
| Year |
2017 |
Publication |
Angewandte Chemie: international edition in English |
Abbreviated Journal |
Angew Chem Int Edit |
| Volume |
56 |
Issue |
17 |
Pages |
4797-4801 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
A combination of large-scale and micro-scale elemental imaging, yielding elemental distribution maps obtained by, respectively non-invasive macroscopic X-ray fluorescence (MA-XRF) and by secondary electron microscopy/energy dispersive X-ray analysis (SEM-EDX) and synchrotron radiation-based micro-XRF (SR m-XRF) imaging was employed to reorient and optimize the conservation strategy of van Eyck's renowned Ghent Altarpiece. By exploiting the penetrative properties of X-rays together with the elemental specificity offered by XRF, it was possible to visualize the original paint layers by van Eyck hidden below the overpainted surface and to simultaneously assess their condition. The distribution of the high-energy Pb-L and Hg-L emission lines revealed the exact location of hidden paint losses, while Fe-K maps demonstrated how and where these lacunae were filled-up using an iron-containing material. The chemical maps nourished the scholarly debate on the overpaint removal with objective, chemical arguments, leading to the decision to remove all skillfully applied overpaints, hitherto interpreted as work by van Eyck. MA-XRF was also employed for monitoring the removal of the overpaint during the treatment phase. To gather complementary information on the in-depth layer build-up, SEM-EDX and SR mu-XRF imaging was used on paint cross sections to record microscale elemental maps. |
| 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 |
000398576000019 |
Publication Date |
2017-03-23 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
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| ISSN |
1433-7851; 0570-0833 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
11.994 |
Times cited |
11 |
Open Access |
|
| Notes |
; This research was supported by the Baillet Latour fund, the Belgian Science Policy Office (Projects MO/39/011) and the Gieskes-Strijbis fund. The authors are also indebted to the BOF-GOA SOLAR Paint project of the University of Antwerp Research Council. The church wardens of the cathedral of St. Bavo and their chairman L. Collin are acknowledged for this agreeable collaboration. We also wish to thank conservators L. Depuydt, B. De Volder, F. Rosier, N. Laquiere and G. Steyaert as well as the members of the international committee. We are indebted to Prof. Em. A. Van Grevenstein-Kruse. ; |
Approved |
Most recent IF: 11.994 |
| Call Number |
UA @ admin @ c:irua:142376 |
Serial |
5688 |
| Permanent link to this record |
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| 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 |
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| 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 |
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| Language |
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Wos |
000491173800017 |
Publication Date |
2019-06-26 |
| Series Editor |
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Series Title |
|
Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
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| ISSN |
1296-2074 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
|
Open Access |
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| Notes |
|
Approved |
no |
| Call Number |
UA @ admin @ c:irua:167564 |
Serial |
8191 |
| Permanent link to this record |
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| Author |
da Silva, A.T.; Legrand, S.; van der Snickt, G.; Featherstone, R.; Janssens, K.; Bottinelli, G. |
| Title |
MA-XRF imaging on Rene Magritte's La condition humaine : insights into the artist's palette and technique and the discovery of a third quarter of La pose enchantee |
Type |
A1 Journal article |
| Year |
2017 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
5 |
Issue |
|
Pages |
37 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Magritte's composition La condition humaine, 1935 was found to conceal under its paint layers an entire quarter of a lost composition by the artist, until recently only known from a small black/white catalogue illustration-La pose enchantee, 1927. This study is the latest contribution to the discovery of the artist's missing painting, now known to have been cut into four parts and re-used by Magritte as the support for new compositions. Non-destructive analytical and examination methods and specifically macroscopic X-ray fluorescence (MAXRF) scanning and conventional X-ray radiography (XRR) were the two non-destructive analytical and examination methods used to study both compositions and add to the existing knowledge on the artist's palette during both periods. The first method is capable of identifying the presence and the distribution of key chemical elements present in artists' materials. In some instances elemental mapping provided useful information on the hidden painting, but conventional X-ray radiography (XRR) enabled a better visualisation of the form and paint application of the underlying composition. Furthermore, the turnover edges of the canvas reveal after over 80 years the artist's palette directly to the viewer. Additional XRF scanning of this exposed paint has confirmed and added to the existing research published to date of this lost painting, including a proposed colour reconstruction, but at the same time highlighting the need for further analytical research involving both non-destructive point analysis and the use of paint samples. |
| 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 |
000410413500001 |
Publication Date |
2017-08-04 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
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| ISSN |
2050-7445 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
7 |
Open Access |
|
| Notes |
; ; |
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:145695 |
Serial |
5696 |
| Permanent link to this record |
| |
|
| |
| Author |
Caen, J.; Legrand, S.; van der Snickt, G.; Janssens, K. |
| Title |
Macro X-ray fluorescence (MA-XRF) scanning : a new and efficient method for documenting stained-glass panels |
Type |
P3 Proceeding |
| Year |
2015 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
|
| Keywords |
P3 Proceeding; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
|
| Address |
|
| Corporate Author |
|
Thesis |
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| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
|
Publication Date |
|
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-2-9543731-1-9 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:126832 |
Serial |
5697 |
| Permanent link to this record |
| |
|
| |
| Author |
De Meyer, S.; Vanmeert, F.; Vertongen, R.; Van Loon, A.; Gonzalez, V.; Delaney, J.; Dooley, K.; Dik, J.; van der Snickt, G.; Vandivere, A.; Janssens, K. |
| Title |
Macroscopic x-ray powder diffraction imaging reveals Vermeer's discriminating use of lead white pigments in Girl with a Pearl Earring |
Type |
A1 Journal article |
| Year |
2019 |
Publication |
Science Advances |
Abbreviated Journal |
|
| Volume |
5 |
Issue |
8 |
Pages |
eaax1975 |
| Keywords |
A1 Journal article; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
Until the 19th century, lead white was the most important white pigment used in oil paintings. Lead white is typically composed of two crystalline lead carbonates: hydrocerussite [2PbCO(3)center dot Pb(OH)(2)] and cerussite (PbCO3). Depending on the ratio between hydrocerussite and cerussite, lead white can be classified into different subtypes, each with different optical properties. Current methods to investigate and differentiate between lead white subtypes involve invasive sampling on a microscopic scale, introducing problems of paint damage and representativeness. In this study, a 17th century painting Girl with a Pearl Earring (by Johannes Vermeer, c. 1665, collection of the Mauritshuis, NL) was analyzed with a recently developed mobile and noninvasive macroscopic x-ray powder diffraction (MA-XRPD) scanner within the project Girl in the Spotlight. Four different subtypes of lead white were identified using XRPD imaging at the macroscopic and microscopic scale, implying that Vermeer was highly discriminatory in his use of lead white. |
| Address |
|
| Corporate Author |
|
Thesis |
|
| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
000491121200021 |
Publication Date |
2019-08-30 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
2375-2548 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
|
Times cited |
3 |
Open Access |
|
| Notes |
; K.J. wishes to thank the Research Council of the University of Antwerp for financial support through GOA project SolarPaint. Also, FWO, Brussels is acknowledged for financial support through grants G056619N and G054719N. The support of InterReg programme Smart*Light is appreciated. ; |
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:163815 |
Serial |
5700 |
| Permanent link to this record |
| |
|
| |
| Author |
van der Snickt, G.; Miliani, C.; Janssens, K.; Brunetti, B.G.; Romani, A.; Rosi, F.; Walter, P.; Castaing, J.; de Nolf, W.; Klaassen, L.; Labarque, I.; Wittermann, R. |
| Title |
Material analyses of “Christ with singing and music-making Angels”, a late 15th-C panel painting attributed to Hans Memling and assistants : part 1 : non-invasive in situ investigations |
Type |
A1 Journal article |
| Year |
2011 |
Publication |
Journal of analytical atomic spectrometry |
Abbreviated Journal |
J Anal Atom Spectrom |
| Volume |
26 |
Issue |
11 |
Pages |
2216-2229 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
In cultural heritage science, compositional data is traditionally obtained from works of art through the analysis of samples by means of various bench-top instruments (scanning electron microscope, Raman spectrometer, etc.). Alternatively, the object can be transported to a laboratory where it may be examined, usually by spectroscopic methods working in reflection mode. However, this paper describes how a complementary set of mobile and portable instruments was deployed in situ to gain a comprehensive view on the materials and related ageing compounds of an (almost) unmovable 15th-C polyptych, prior to and in preparation of the extraction of a limited number of samples. In line with the methodological approach discussed, PXRF was first employed as an efficient screening tool. The ensuing elemental data was supplemented by more specific information on both organic as inorganic materials supplied by reflection near- and mid-FTIR spectroscopy and fluorimetry. In completion, a limited number of diffraction patterns were collected with a mobile XRD instrument in order to identify the constituent crystalline phases in pigments, grounding materials and degradation products. In this way, it could be demonstrated how a rich array of colours was obtained by means of a limited palette of pigments: lead white, lead tin yellow, azurite, natural ultramarine, bone black, vermillion, madder lake, and a green copper-organo complex were detected and situated on the panels. Remarkably, next to chalk also gypsum was found in the ground layer(s) of this Western European easel painting. The relatively large surface of the background was covered with gold leaf; the analyses seem to point towards the labour-intensive water gilding technique. The versatility of this combination of analytical techniques was further illustrated by the accurate characterisation of degradation products affecting the readability and conservation of the painting: the overall presence of a calcium oxalate-based film of variable thickness was established. Nevertheless, further analysis of cross-sectioned samples was considered desirable in order to study the stratigraphy, to gain direct access to altered and sub-imposed layers and to allow highly detailed analysis of micrometric degradation products by state-of-the art techniques (i.e. synchrotron radiation). |
| Address |
|
| Corporate Author |
|
Thesis |
|
| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
000296021800010 |
Publication Date |
2011-09-23 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0267-9477 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
3.379 |
Times cited |
32 |
Open Access |
|
| Notes |
; This research was supported by the Interuniversity Attraction Poles Programme – Belgian Science Policy (IUAP VI/16). The text also presents results of GOA “XANES meets ELNES” (Research Fund University of Antwerp, Belgium) and from FWO (Brussels, Belgium) projects no. G.0103.04, G.0689.06 and G.0704.08. The staff of the Royal Museum of Fine Arts Antwerp is acknowledged for this pleasant cooperation and the authorisation for the publication of the images in this article. Therefore, a word of gratitude to Paul Huvenne, Yolande Deckers, Stef Antonissen and Gwen Borms. In addition, the authors would like to thank the MOLAB's team operators Chiari Anselmi and Federica Presciutti. MOLAB analyses have been carried out through the support of the EU within the 6th Framework Programme (Contract Eu-ARTECH, RII3-CT-2004-506171). ; |
Approved |
Most recent IF: 3.379; 2011 IF: 3.220 |
| Call Number |
UA @ admin @ c:irua:93680 |
Serial |
5705 |
| 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 |
|
| Corporate Author |
|
Thesis |
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| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
|
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:190781 |
Serial |
8223 |
| Permanent link to this record |
| |
|
| |
| Author |
Aibéo, C.L.; Goffin, S.; Schalm, O.; van der Snickt, G.; Laquière, N.; Eyskens, P.; Janssens, K. |
| Title |
Micro-Raman analysis for the identification of pigments from 19th and 20th century paintings |
Type |
A1 Journal article |
| Year |
2008 |
Publication |
Journal of Raman spectroscopy |
Abbreviated Journal |
J Raman Spectrosc |
| Volume |
39 |
Issue |
8 |
Pages |
1091-1098 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
In this article, results using confocal µ-Raman to analyse the cross-section of paint samples are presented. Results obtained with light microscopy, scanning electron microscopy (SEM) combined with an energy dispersive X-ray analysis (EDX) and micro-X-ray fluorescence (µ-XRF) are mentioned and compared to the ones obtained with confocal (MRS). In some cases, pigment identification was possible only by combining analytical results from different techniques. The samples were drawn from five paintings belonging to the Academy of Fine Arts of Antwerp, which are part of a collection of 34 paintings made by students from the Academy between 1819 and 1920. Since, on the one hand, the painting techniques and materials, especially pigments, used in this period are still not completely known, and on the other hand, this collection constitutes a very important and reliable resource of information, these paintings were chosen for a systematic investigation. They represent the evolution of painting in Belgium over approximately a century. |
| Address |
|
| Corporate Author |
|
Thesis |
|
| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
000259242100020 |
Publication Date |
2008-05-16 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0377-0486 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
2.969 |
Times cited |
28 |
Open Access |
|
| Notes |
|
Approved |
Most recent IF: 2.969; 2008 IF: 3.526 |
| Call Number |
UA @ admin @ c:irua:74467 |
Serial |
5716 |
| Permanent link to this record |
| |
|
| |
| Author |
Álvarez-Martín, A.; De Winter, S.; Nuyts, G.; Hermans, J.; Janssens, K.; van der Snickt, G. |
| Title |
Multi-modal approach for the characterization of resin carriers in Daylight Fluorescent Pigments |
Type |
A1 Journal article |
| Year |
2020 |
Publication |
Microchemical Journal |
Abbreviated Journal |
Microchem J |
| Volume |
159 |
Issue |
|
Pages |
105340 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES) |
| Abstract |
Almost seventy years after artists such as Frank Stella (1936), Andy Warhol (1928-1987), James Rosenquist (1933-2017), Herb Aach (1923-1985) and Richard Bowman (1918-2001) started to incorporate Daylight Fluorescent Pigments (DFPs) in their artworks, the extent of the conservation problems that are associated with these pigments has increased progressively. Since their first appearance on the market, their composition has constantly been improved in terms of permanency. However, conservation practices on the artworks that are used in, are complicated by the fact that the composition of DFPs is proprietary and the information provided by the manufactures is limited. To be able to propose adequate conservation strategies for artworks containing DFPs, a thorough understanding of the DFPs composition must be acquired. In contrast with previous research that concentrated on identification of the coloring dye, this paper focuses on the characterization of the resin, used as the carrier for the dye. The proposed approach, involving ATR-FTIR, SPME-GC-MS and XRF analysis, provided additional insights on the organic and inorganic components of the resin. Using this approach, we investigated historical DFPs and new formulations, as well as different series from the main manufacturing companies (DayGlo, Swada, Radiant Color and Kremer) in order to obtain a full characterization of DFPs used by the artists along the years. First, the initial PCA-assisted ATR-FTIR spectroscopy allowed for an efficient classification of the main monomers in the resin polymer. Next, a further distinction was made by mass spectrometry and XRF which were optimized to allow a more specific classification of the resin and for detection of additives. In this paper we show the potential of SPME-GC-MS, never applied for the characterization of artistic materials, at present undervalued for heritage science purposes. We anticipate that this information will be highly relevant in the future stability studies and for defining (preventive) conservation strategies of fluorescent artworks. |
| Address |
|
| Corporate Author |
|
Thesis |
|
| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
000598761400009 |
Publication Date |
2020-07-30 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0026-265x; 0026-265x |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
4.8 |
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
Most recent IF: 4.8; 2020 IF: 3.034 |
| Call Number |
UA @ admin @ c:irua:175083 |
Serial |
8286 |
| Permanent link to this record |
| |
|
| |
| Author |
Janssens, K.; van der Snickt, G.; Vanmeert, F.; Legrand, S.; Nuyts, G.; Alfeld, M.; Monico, L.; Anaf, W.; de Nolf, W.; Vermeulen, M.; Verbeeck, J.; De Wael, K. |
| Title |
Non-invasive and non-destructive examination of artistic pigments, paints, and paintings by means of X-Ray methods |
Type |
A1 Journal article |
| Year |
2016 |
Publication |
Topics in Current Chemistry |
Abbreviated Journal |
Topics Curr Chem |
| Volume |
374 |
Issue |
374 |
Pages |
81 |
| Keywords |
A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Recent studies are concisely reviewed, 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 the seventeenth to the early twentieth century painters. 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 XRF is a variant of the method that is well suited to visualize the elemental distribution of key elements, mostly metals, present in paint multi-layers, on the length scale from 1 to 100 μm inside micro-samples taken from paintings. In the context of the characterization of artists pigments subjected 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 spectroscopy and/or Raman microscopy since these methods deliver complementary information of high molecular specificity at more or less the same length scale as the X-ray microprobe techniques. Since microscopic investigation of a relatively limited number of minute paint samples, taken from a given work of art, may not yield representative information about the entire artefact, several methods for macroscopic, non-invasive imaging have recently been developed. Those based on XRF scanning and full-field hyperspectral imaging appear very promising; some recent published results are discussed. |
| Address |
|
| Corporate Author |
|
Thesis |
|
| Publisher |
Springer international publishing ag |
Place of Publication |
Cham |
Editor |
|
| Language |
|
Wos |
000391178900006 |
Publication Date |
2016-11-21 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
2365-0869;2364-8961; |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
4.033 |
Times cited |
50 |
Open Access |
|
| Notes |
; ; |
Approved |
Most recent IF: 4.033 |
| Call Number |
UA @ lucian @ c:irua:139930UA @ admin @ c:irua:139930 |
Serial |
4443 |
| Permanent link to this record |
| |
|
| |
| 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 |
|
| 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 |
|
| Corporate Author |
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Thesis |
|
| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
|
Publication Date |
2022-09-08 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
978-3-030-86864-2 |
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
Not_Open_Access |
| Notes |
|
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:190777 |
Serial |
7183 |
| Permanent link to this record |
| |
|
| |
| Author |
Alfeld, M.; Janssens, K.; Dik, J.; de Nolf, W.; van der Snickt, G. |
| Title |
Optimization of mobile scanning macro-XRF systems for the in situ investigation of historical paintings |
Type |
A1 Journal article |
| Year |
2011 |
Publication |
Journal of analytical atomic spectrometry |
Abbreviated Journal |
J Anal Atom Spectrom |
| Volume |
26 |
Issue |
5 |
Pages |
899-909 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Elemental distribution maps are of great interest in the study of historical paintings, as they allow to investigate the pigment use of the artist, to image changes made in the painting during or after its creation and in some cases to reveal discarded paintings that were later over painted. Yet a method that allows to record such maps of a broad range of elements in a fast, non-destructive and in situ manner is not yet commonly available; a dedicated mobile scanning XRF instrument might fill this gap. In this paper we present three self-built scanning macro-XRF instruments, each based on the experience gained with its precursor. These instruments are compared in terms of sensitivity and limits of detection, which includes a discussion of the use of polycapillary optics and pinhole collimators as beam defining devices. Furthermore, the imaging capabilities of the instruments are demonstrated in three exemplary cases: (parts of) historical paintings from the 15th to the 19th century are examined. These cases illustrate the value of element specific distribution maps in the study of historical paintings and allow in the case of Vincent van Gogh's Patch of Grass a direct comparison between in situ and synchrotron based scanning macro-XRF. |
| Address |
|
| Corporate Author |
|
Thesis |
|
| Publisher |
|
Place of Publication |
|
Editor |
|
| Language |
|
Wos |
000289731900004 |
Publication Date |
2011-03-21 |
| Series Editor |
|
Series Title |
|
Abbreviated Series Title |
|
| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
0267-9477 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
3.379 |
Times cited |
107 |
Open Access |
|
| Notes |
; The investigation of the “Triptych of the Seven Sacraments'' was done in collaboration with Griet Steyaert, independent restorer, and Lizet Klaassen, Royal Museum of Fine Arts (Antwerp, Belgium). The investigation of ”Patch of Grass'' was realized in collaboration with Luuk van der Loeff, Kroller-Muller-Museum (Otterlo, The Netherlands). M. Alfeld is a PhD fellowship of the Research Foundation-Flanders (FWO). This research was supported by the Interuniversity Attraction Poles Programme-Belgian Science Policy (IUAP VI/16) NACHO. The text also presents results of GOA "XANES meets ELNES'' (Research Fund University of Antwerp, Belgium) and from FWO (Brussels, Belgium) projects no. G.0103.04, G.0689.06 and G.0704.08. Further, the work presented was sponsored by the Innovational Research Incentives Scheme of the Netherlands Organization for Scientific Research, NWO (proj. no. 016.118.303). ; |
Approved |
Most recent IF: 3.379; 2011 IF: 3.220 |
| Call Number |
UA @ admin @ c:irua:89919 |
Serial |
5758 |
| Permanent link to this record |
| |
|
| |
| Author |
de Nolf, W.; Vekemans, B.; Janssens, K.; van der Snickt, G.; Falkenberg, G. |
| Title |
Pigment identification by scanning μ-XRF/μ-XRD |
Type |
H3 Book chapter |
| Year |
2007 |
Publication |
|
Abbreviated Journal |
|
| Volume |
|
Issue |
|
Pages |
|
| Keywords |
H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| 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 |
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| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
|
ISBN |
|
Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
|
| Notes |
|
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:64595 |
Serial |
5773 |
| Permanent link to this record |
| |
|
| |
| Author |
Vanmeert, F.; van der Snickt, G.; Janssens, K. |
| Title |
Plumbonacrite identified by X-ray powder diffraction tomography as a missing link during degradation of red lead in a Van Gogh painting |
Type |
A1 Journal article |
| Year |
2015 |
Publication |
Angewandte Chemie: international edition in English |
Abbreviated Journal |
Angew Chem Int Edit |
| Volume |
54 |
Issue |
12 |
Pages |
3607-3610 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Red lead, a semiconductor pigment used by artists since antiquity, is known to undergo several discoloration phenomena. These transformations are either described as darkening of the pigment caused by the formation of either plattnerite (β-PbO2) or galena (PbS) or as whitening by which red lead is converted into anglesite (PbSO4) or (hydro)cerussite (2 PbCO3⋅Pb(OH)2; PbCO3). X-ray powder diffraction tomography, a powerful analytical method that allows visualization of the internal distribution of different crystalline compounds in complex samples, was used to investigate a microscopic paint sample from a Van Gogh painting. A very rare lead mineral, plumbonacrite (3 PbCO3⋅ Pb(OH)2⋅PbO), was revealed to be present. This is the first reported occurrence of this compound in a painting dating from before the mid 20th century. It constitutes the missing link between on the one hand the photoinduced reduction of red lead and on the other hand (hydro)cerussite, and thus sheds new light on the whitening of red lead. |
| 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 |
000351178300008 |
Publication Date |
2015-02-20 |
| 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 |
1433-7851; 0570-0833 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
11.994 |
Times cited |
24 |
Open Access |
|
| Notes |
; The authors acknowledge L. Van der Loeff and M. Leeuwestein (Kroller-Muller Museum) for providing the paint sample. We thank Dr. J. Jaroszewicz (WUT) for performing the CT measurements. This research was carried out at the light source PETRA III at DESY, a member of the Helmholtz Association (HGF). We thank Dr. G. Falkenberg and the members of his team for their assistance in using beam line P06. We acknowledge financial support from the University of Antwerp GOA projects “XANES meets EELS” and “SOLARPaint”, as well as from BELSPO (Brussels) Project S2-ART and FWO (Brussels) project “ESRF-Dubble”. ; |
Approved |
Most recent IF: 11.994; 2015 IF: 11.261 |
| Call Number |
UA @ admin @ c:irua:124620 |
Serial |
5774 |
| Permanent link to this record |
| |
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| |
| Author |
Hillen, M.; Sels, S.; Ribbens, B.; Verspeek, S.; Janssens, K.; Van der Snickt, G.; Steenackers, G. |
| Title |
Qualitative Comparison of Lock-in Thermography (LIT) and Pulse Phase Thermography (PPT) in Mid-Wave and Long-Wave Infrared for the Inspection of Paintings |
Type |
A1 Journal article |
| Year |
2023 |
Publication |
Applied Sciences |
Abbreviated Journal |
Appl Sci-Basel |
| Volume |
13 |
Issue |
7 |
Pages |
1-13 |
| Keywords |
A1 Journal article; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
When studying paintings with active infrared thermography (IRT), minimizing the temperature fluctuations and thermal shock during a measurement becomes important. Under these conditions, it might be beneficial to use lock-in thermography instead of the conventionally used pulse thermography (PT). This study compared the observations made with lock-in thermography (LIT) and pulse phase thermography (PPT) with halogen light excitation. Three distinctly different paintings were examined. The LIT measurements caused smaller temperature fluctuations and, overall, the phase images appeared to have a higher contrast and less noise. However, in the PPT phase images, the upper paint layer was less visible, an aspect which is of particular interest when trying to observe subsurface defects or the structure of the support. The influence of the spectral range of the cameras on the results was also investigated. All measurements were taken with a mid-wave infrared (MWIR) and long wave infrared (LWIR) camera. The results show that there is a significant number of direct reflection artifacts, caused by the use of the halogen light sources when using the MWIR camera. Adding a long-pass filter to the MWIR camera eliminated most of these artifacts. All results are presented in a side-by-side comparison. |
| 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 |
000972133900001 |
Publication Date |
2023-03-24 |
| Series Editor |
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Series Title |
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Abbreviated Series Title |
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| Series Volume |
|
Series Issue |
|
Edition |
|
| ISSN |
2076-3417 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
2.7 |
Times cited |
|
Open Access |
OpenAccess |
| Notes |
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Approved |
Most recent IF: 2.7; 2023 IF: 1.679 |
| Call Number |
UA @ admin @ c:irua:194898 |
Serial |
7333 |
| Permanent link to this record |
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| |
| Author |
Janssens, K.; de Nolf, W.; van der Snickt, G.; Vincze, L.; Vekemans, B.; Terzano, R.; Brenker, F.E. |
| Title |
Recent trends in quantitative aspects of microscopic X-ray fluorescence analysis |
Type |
A1 Journal article |
| Year |
2010 |
Publication |
Trends in analytical chemistry |
Abbreviated Journal |
Trac-Trend Anal Chem |
| Volume |
29 |
Issue |
6 |
Pages |
464-478 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
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| 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 |
000279235000014 |
Publication Date |
2010-03-23 |
| 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 |
|
| ISSN |
0165-9936 |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
8.442 |
Times cited |
48 |
Open Access |
|
| Notes |
; This research was supported by the Interuniversity Attraction Poles Programme-Belgian Science Policy (IUAP VI/16). The text also presents results of FWO (Brussels, Belgium) projects nr. G.0704.08 and G.0179.09 and from the UA-BOF GOA programme. ; |
Approved |
Most recent IF: 8.442; 2010 IF: 6.602 |
| Call Number |
UA @ admin @ c:irua:83903 |
Serial |
5806 |
| 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 |
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Abbreviated Journal |
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| 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 |
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| 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 |
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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 |
978-90-429-5216-4 |
ISBN |
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Additional Links |
UA library record |
| Impact Factor |
|
Times cited |
|
Open Access |
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| Notes |
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Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:203062 |
Serial |
9082 |
| Permanent link to this record |
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| |
| Author |
Janssens, K.; van der Snickt, G.; Alfeld, M.; Noble, P.; van Loon, A.; Delaney, J.; Conover, D.; Zeibel, J.; Dik, J. |
| Title |
Rembrandt's 'Saul and David' (c. 1652) : use of multiple types of smalt evidenced by means of non-destructive imaging |
Type |
A1 Journal article |
| Year |
2016 |
Publication |
Microchemical journal |
Abbreviated Journal |
Microchem J |
| Volume |
126 |
Issue |
|
Pages |
515-523 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
The painting Saul and David, considered to date from c. 1652 and previously attributed to Rembrandt van Rijn and/or his studio, is a complex work of art that has been recently subjected to intensive investigation and conservation treatment. The goal of the research was to give insight into the painting's physical construction and condition in preparation for conservation treatment. It was also anticipated that analysis would shed light on authenticity questions and Rembrandt's role in the creation of the painting. The painting depicts the Old Testament figures of King Saul and David. At left is Saul, seated, holding a spear and wiping a tear from his eye with a curtain. David kneels before him at the right playing his harp. In the past, the large sections with the life-size figures were cut apart and later reassembled. A third piece of canvas was added to replace a missing piece of canvas above the head of David. As part of the investigation into the authenticity of the curtain area, a number of paint micro samples were examined with LM and SEM-EDX. Given that the earth, smalt and lake pigments used in the painting could not be imaged with traditional imaging techniques, the entire painting was also examined with state of the art non-destructive imaging techniques. Special attention was devoted to the presence of cobalt-containing materials, specifically the blue glass pigment smalt considered characteristic for the late Rembrandt. A combination of quantitative electron microprobe analysis and macroscopic X-ray fluorescence scanning revealed that three types of cobalt-containing materials are present in the painting. The first type is a cobalt drier that was found in the overpaint used to cover up the canvas inset and the joins that were added in the 19th century. The other two Co-containing materials are part of the original paint used by Rembrandt and comprise two varieties of smalt, a K-rich glass pigment that derives its gray-blue color by doping with Co-ions. Smalt paint with a higher Ni content (NiO:CoO ratio of around 1:4) was used to depict the blue stripes in Saul's colorful turban, while smalt with a lower Ni content was employed (NiO:CoO ratio of around 1:5) for the broad expanses of Saul's garments. The presence of two types of smalt not only supports the recent re-attribution of the painting to Rembrandt, but also that the picture was painted in two phases. Saul's dark red garment is painted in a rough, “loose” manner and the now discolored smalt-rich layer was found to have been partially removed during a past restoration treatment/s. In contrast, the blue-green smalt in the turban is much better preserved and provides a colorful accent. While the use of different types of smalt in a Rembrandt painting has been previously identified using quantitative EDX analysis of paint cross-sections, to the best of our knowledge this is the first time such a distinction has been observed in a 17th-century painting using non-destructive imaging techniques. In addition to the XRF-based non-invasive elemental mapping, hyperspectral imaging in the visual to near-infrared (VNIR) region was also carried out. (C) 2016 Elsevier B.V. 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 |
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| Language |
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Wos |
000373647500063 |
Publication Date |
2016-01-29 |
| 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 |
|
| ISSN |
0026-265x; 0026-265x |
ISBN |
|
Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
3.034 |
Times cited |
18 |
Open Access |
|
| Notes |
; This research is part of the ReVisualising late Rembrandt: Developing and Applying New Imaging Techniques research project, supported by the Science4Arts research program of the Netherlands Organisation for Scientific Research (NWO, The Hague, NL, ReVisRembrandt project) and the National Science Foundation (NSF, Washington DC, USA, award 1041827). We would like to thank colleagues of the Mauritshuis (The Hague, NL) and the Dutch Cultural Heritage Agency (RCE) in Rijswijk, NL for their support and assistance during the scanning of the Saul and David painting. The GOA project “SOLARPAINT” (University of Antwerp) and the Fund Baillet Latour (Brussels, B) are acknowledged for financial support to GvdS and KJ. We also like to acknowledge the help of Eliza Longhini and Stijn Legrand during some of the XRF scanning stages. ; |
Approved |
Most recent IF: 3.034 |
| Call Number |
UA @ admin @ c:irua:133258 |
Serial |
5813 |
| Permanent link to this record |
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| Author |
Trentelman, K.; Janssens, K.; van der Snickt, G.; Szafran, Y.; Woollett, A.T.; Dik, J. |
| Title |
Rembrandt's An Old Man in Military Costume: the underlying image re-examined |
Type |
A1 Journal article |
| Year |
2015 |
Publication |
Applied physics A : materials science & processing |
Abbreviated Journal |
Appl Phys A-Mater |
| Volume |
121 |
Issue |
3 |
Pages |
801-811 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
The painting An Old Man in Military Costume in the J. Paul Getty Museum, by Rembrandt Harmensz van Rijn, was studied using two complementary, element-specific imaging techniques-neutron activation autoradiography (NAAR) and macro-X-ray fluorescence (MA-XRF) mapping-to reveal the second, hidden painting. NAAR provided a strong image of the face and cloak of the underlying figure, along with an indication of the chemical composition. The single-element distribution maps produced by MA-XRF mapping provided additional details into the shape of the underlying image and the composition of the pigments used. The underlying figure's face is richer in mercury, indicative of the pigment vermilion, than the face of the figure on the surface. Likewise, the cloak of the underlying figure is richer in copper than the surface figure though the identity of the copper-containing pigment cannot be determined from these data. The use of iron earth pigments, specifically Si-rich umbers, is indicated through the complementary information provided by the NAAR and MA-XRF maps. These data are used to create a false color digital reconstruction, yielding the most detailed representation of the underlying painting to date. |
| 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 |
000364914100003 |
Publication Date |
2015-08-31 |
| 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 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
1.455 |
Times cited |
22 |
Open Access |
|
| Notes |
; The authors gratefully acknowledge the assistance of all those who aided in the examination of this painting over the decades, that has culminated in the work presented here. Particular thanks go to Mark Leonard (former head of Paintings Conservation at the J. Paul Getty Museum) and Henry Prask (NIST) for carrying out the NAAR analysis; John Twilley (former GCI Scientist) for early investigations; Andrea Sartorius (former JPGM Paintings intern) for creating a mock-up painting used in earlier phases of this work; Peter Reishig (former GCI intern) for compiling the NAAR data; Catherine Patterson, Lynn Lee, and David Carson (GCI Science) and Gene Karraker (JPGM Paintings Conservation) for helping with the setup and operation of the M6 Jetstream; and Giacomo Chiari (former head of GCI Science) for performing the XRD analysis. Koen Janssens and Geert van der Snickt acknowledge the Fund Inbev-Baillet Latour for financial support. Joris Dik acknowledges the help of the Netherlands Organization for Scientific Research (NWO) in the form of a VIDI grant in the Innovational Research Incentive Scheme. ; |
Approved |
Most recent IF: 1.455; 2015 IF: 1.704 |
| Call Number |
UA @ admin @ c:irua:130289 |
Serial |
5812 |
| Permanent link to this record |
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| Author |
De Keyser, N.; Broers, F.; Vanmeert, F.; De Meyer, S.; Gabrieli, F.; Hermens, E.; van der Snickt, G.; Janssens, K.; Keune, K. |
| Title |
Reviving degraded colors of yellow flowers in 17th century still life paintings with macro- and microscale chemical imaging |
Type |
A1 Journal article |
| Year |
2022 |
Publication |
Science Advances |
Abbreviated Journal |
|
| Volume |
8 |
Issue |
23 |
Pages |
1-12 |
| Keywords |
A1 Journal article; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS) |
| Abstract |
Over time, artist pigments are prone to degradation, which can decrease the readability of the artwork or notably change the artist's intention. In this article, the visual implication of secondary degradation products in a degraded yellow rose in a still life painting by A. Mignon is discussed as a case study. A multimodal combination of chemical and optical imaging techniques, including noninvasive macroscopic x-ray powder diffraction (MA-XRPD) and macroscopic x-ray fluorescence imaging, allowed us to gain a 3D understanding of the transformation of the original intended appearance of the rose into its current degraded state. MA-XRPD enabled us to precisely correlate in situ formed products with what is optically visible on the surface and demonstrated that the precipitated lead arsenates and arsenolite from the yellow pigment orpiment and the light-induced fading of an organic yellow lake irreversibly changed the artist's intentional light-shadow modeling. |
| 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 |
000811556500011 |
Publication Date |
2022-06-08 |
| 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 |
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Edition |
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| ISSN |
2375-2548 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
13.6 |
Times cited |
|
Open Access |
OpenAccess |
| Notes |
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Approved |
Most recent IF: 13.6 |
| Call Number |
UA @ admin @ c:irua:189657 |
Serial |
7205 |
| Permanent link to this record |
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| Author |
Alfeld, M.; van der Snickt, G.; Vanmeert, F.; Janssens, K.; Dik, J.; Appel, K.; van der Loeff, L.; Chavannes, M.; Meedendorp, T.; Hendriks, E. |
| Title |
Scanning XRF investigation of a Flower Still Life and its underlying composition from the collection of the Kröller-Muller Museum |
Type |
A1 Journal article |
| Year |
2013 |
Publication |
Applied physics A : materials science & processing |
Abbreviated Journal |
Appl Phys A-Mater |
| Volume |
111 |
Issue |
1 |
Pages |
165-175 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
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| 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 |
000316075700020 |
Publication Date |
2013-01-29 |
| 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 |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
1.455 |
Times cited |
35 |
Open Access |
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| Notes |
; This research was supported by the SSD program of BELSPO, Brussels (project S2-ART). Results are also presented here from Gemeenschappelijke Onderzoeksactie (GOA) 'XANES meets ELNES' (Research Fund, University of Antwerp, Belgium) and from Fonds voor Wetenschappelijk Onderzoek (FWO) (Brussels, Belgium) project Nos. G.0704.08 and G.01769.09. The research leading to these results was funded by the European Community's Seventh Framework Program (FP7/2007-2013) under grant agreement No. 226716 and the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO) under the VIDI project “Looking Over the Painter's Shoulder” (grant No. 700.10.426). M. Alfeld is the recipient of a Ph.D. fellowship of the Research Foundation-Flanders (FWO). ; |
Approved |
Most recent IF: 1.455; 2013 IF: 1.694 |
| Call Number |
UA @ admin @ c:irua:108264 |
Serial |
5826 |
| Permanent link to this record |
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| Author |
Dooley, K.A.; Gifford, E.M.; van Loon, A.; Noble, P.; Zeibel, J.G.; Conover, D.M.; Alfeld, M.; van der Snickt, G.; Legrand, S.; Janssens, K.; Dik, J.; Delaney, J.K. |
| Title |
Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis |
Type |
A1 Journal article |
| Year |
2018 |
Publication |
Heritage science |
Abbreviated Journal |
|
| Volume |
6 |
Issue |
6 |
Pages |
46 |
| Keywords |
A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Late paintings of Rembrandt van Rijn (1606-1669) offer intriguing problems for both art historians and conservation scientists. In the research presented here, the key question addressed is whether observed stylistic differences in paint handling can be correlated with material differences. In Saul and David, in the collection of the Royal Picture Gallery Mauritshuis in The Hague, NL, the stylistic differences between the loose brushwork of Saul's cloak and the more detailed depiction of his turban and the figure of David have been associated with at least two painting stages since the late 1960s, but the attribution of each stage has been debated in the art historical literature. Stylistic evaluation of the paint handling in the two stages, based on magnified surface examination, is further described here. One of the research goals was to determine whether the stylistic differences could be further differentiated with macroscale and microscale methods of material analysis. To address this, selected areas of the painting having pronounced stylistic differences were investigated with two macroscopic chemical imaging methods, X-ray fluorescence and reflectance imaging spectroscopies. The pigments used were identified and their spatial distribution was mapped. The mapping results show that the passages rendered in more detail and associated stylistically with the first painting stage, such as the orange-red color of David's garment or the Greek key design in Saul's turban, were painted with predominately red ochre mixed with vermilion. The regions of loose, bold brushwork, such as the orange-red slashing strokes in the interior of Saul's cloak, associated with the second painting stage, were painted with predominately red ochre without vermilion. These macroscale imaging results were confirmed and extended with scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX) analysis of three cross-sections taken from regions of stylistic differences associated with the two painting stages, including one sample each from the right and left sleeve of David, and one from the interior of Saul's cloak. SEM-EDX also identified a trace component, barium sulfate, associated with the red ochre of the second stage revisions. Combining mapping information from two spectroscopic imaging methods with localized information from microscopic samples has clearly shown that the stylistic differences observed in the paint handling are affiliated with differences in the chemical composition of the paints. |
| 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 |
000441205600001 |
Publication Date |
2018-08-02 |
| 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 |
|
Times cited |
3 |
Open Access |
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| Notes |
; The authors gratefully acknowledge the financial support through the NWO Science4Arts program (ReVisRembrandt Project 2012-2018) and the NSF SCI-ART program (Award 1041827). JKD acknowledges support from the Andrew W. Mellon and the Samuel H. Kress Foundations. SL is grateful for a doctoral scholarship from the Research Council of the University of Antwerp. GvdS and KJ acknowledge support from the Fund Baillet Latour. ; |
Approved |
Most recent IF: NA |
| Call Number |
UA @ admin @ c:irua:153119 |
Serial |
5829 |
| Permanent link to this record |
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| Author |
Alfeld, M.; Wahabzada, M.; Bauckhage, C.; Kersting, K.; van der Snickt, G.; Noble, P.; Janssens, K.; Wellenreuther, G.; Falkenberg, G. |
| Title |
Simplex Volume Maximization (SiVM): a matrix factorization algorithm with non-negative constrains and low computing demands for the interpretation of full spectral X-ray fluorescence imaging data |
Type |
A1 Journal article |
| Year |
2017 |
Publication |
Microchemical journal |
Abbreviated Journal |
Microchem J |
| Volume |
132 |
Issue |
|
Pages |
179-184 |
| Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
| Abstract |
Technological progress allows for an ever-faster acquisition of hyperspectral data, challenging the users to keep up with interpreting the recorded data. Matrix factorization, the representation of data sets by bases (or loads) and coefficient (or score) images is long used to support the interpretation of complex data sets. We propose in this publication Simplex Volume Maximization (SiVM) for the analysis of X-ray fluorescence (XRF) imaging data sets. SiVM selects archetypical data points that represents the data set and thus provides easily understandable bases, preserves the non-negative character of XRF data sets and has low demands concerning computing resources. We apply SiVM on an XRF data set of Hans Memling's Portrait of a man from the Lespinette family from the collection of the Mauritshuis (The Hague, NL) and discuss capabilities and shortcomings of SiVM. (C) 2017 Elsevier B.V. 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 |
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| Language |
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Wos |
000399845700026 |
Publication Date |
2017-02-04 |
| 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 |
0026-265x; 0026-265x |
ISBN |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
| Impact Factor |
3.034 |
Times cited |
8 |
Open Access |
|
| Notes |
; The German Federal Ministry of Education and Research (BMBF) is acknowledged for the financial support (Verbundprojekt 05K2012 POISSON: Fortschrittliche Faktorenanalyse ffir Poisson-verteilte Daten). ; |
Approved |
Most recent IF: 3.034 |
| Call Number |
UA @ admin @ c:irua:152647 |
Serial |
5830 |
| Permanent link to this record |
