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Janssens, K.; Alfeld, M.; van der Snickt, G.; de Nolf, W.; Vanmeert, F.; Radepont, M.; Monico, L.; et al. |
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Title  |
The use of synchrotron radiation for the characterization of artists' pigments and paintings |
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A1 Journal article |
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Year |
2013 |
Publication |
Annual review of analytical chemistry |
Abbreviated Journal |
Annu Rev Anal Chem |
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6 |
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399-425 |
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A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Abstract |
We review methods and recent studies in which macroscopic to (sub)microscopic X-ray beams were used for nondestructive analysis and characterization of pigments, paint microsamples, and/or entire paintings. We discuss the use of portable laboratory- and synchrotron-based instrumentation and describe several variants of X-ray fluorescence (XRF) analysis used for elemental analysis and imaging and combined with X-ray diffraction (XRD) and X-ray absorption spectroscopy (XAS). Macroscopic and microscopic (μ-)XRF variants of this method are suitable for visualizing the elemental distribution of key elements in paint multilayers. Technical innovations such as multielement, large-area XRF detectors have enabled such developments. The use of methods limited to elemental analysis or imaging usually is not sufficient to elucidate the chemical transformations that take place during natural pigment alteration processes. However, synchrotron-based combinations of μ-XRF, μ-XAS, and μ-XRD are suitable for such studies. |
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000323887500019 |
Publication Date |
2013-06-18 |
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ISSN |
1936-1327 |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
7.435 |
Times cited |
46 |
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Notes |
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Approved |
Most recent IF: 7.435; 2013 IF: 7.814 |
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Call Number |
UA @ admin @ c:irua:111315 |
Serial |
5902 |
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Anitha, A.; Brasoveanu, A.; Duarte, M.F.; Hughes, S.M.; Daubechies, I.; Dik, J.; Janssens, K.; Alfeld, M. |
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Title |
Virtual underpainting reconstruction from X-ray fluorescence imaging data |
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P1 Proceeding |
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2011 |
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1239-1243 |
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P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Most recent IF: NA |
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Call Number |
UA @ admin @ c:irua:124612 |
Serial |
5905 |
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Alfeld, M.; Siddons, D.P.; Janssens, K.; Dik, J.; Woll, A.; Kirkham, R.; van de Wetering, E. |
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Visualizing the 17th century underpainting in Portrait of an Old Man by Rembrandt van Rijn using synchrotron-based scanning macro-XRF |
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A1 Journal article |
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Year |
2013 |
Publication |
Applied physics A : materials science & processing |
Abbreviated Journal |
Appl Phys A-Mater |
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111 |
Issue |
1 |
Pages |
157-164 |
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Keywords |
A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Abstract |
In 17th century Old Master Paintings, the underpainting generally refers to the first sketch of a composition. The underpainting is applied to a prepared ground using a monochrome, brown oil paint to roughly indicate light, shade and contours. So far, methods to visualize the underpainting-other than in localized cross-sections-have been very limited. Neither infrared reflectography nor neutron induced autoradiography have proven to be practical, adequate visualization tools. Thus, although of fundamental interest in the understanding of a painting's genesis, the underpainting has virtually escaped all imaging efforts. In this contribution we will show that 17th century underpainting may consist of a highly heterogeneous mixture of pigments, including copper pigments. We suggest that this brown pigment mixture is actually the recycled left-over of a palette scraping. With copper as the heaviest exclusive elemental component, we will hence show in a case study on a Portrait of an Old Man attributed to Rembrandt van Rijn how scanning macro-XRF can be used to efficiently visualize the underpainting below the surface painting and how this information can contribute to the discussion of the painting's authenticity. |
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000316075700019 |
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2012-12-14 |
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ISSN |
0947-8396 |
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Additional Links |
UA library record; WoS full record; WoS citing articles |
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Impact Factor |
1.455 |
Times cited |
26 |
Open Access |
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Notes |
; This research was supported by the SSD programme of BELSPO, Brussels (project S2-ART). The text also presents results of GOA 'XANES meets ELNES' (Research Fund, University of Antwerp, Belgium) and from FWO (Brussels, Belgium) projects nos. G.0704.08 and G.01769.09. Further, the research leading to these results has received funding from the European Community's Seventh Framework Programme (FP7/2007-2013) under grant agreement no. 226716. M. Alfeld receives a Ph.D. fellowship of the Research Foundation-Flanders (FWO). Use of the National Synchrotron Light Source, Brookhaven National Laboratory, was supported by the U.S. Department of Energy, Office of Science, Office of Basic Energy Sciences, under Contract No. DE-AC02-98CH10886. We acknowledge the assistance of C. Ryan, CSIRO Australia, in the preparation of the elemental maps using GeoPIXE and Rene Gerritsen (http://www.renegerritsen.nl) in providing photographs, XRR and IRR of the painting. We thank Sullivan Entertainment for documenting part of this project in their TV documentary 'Out of the shadows'. ; |
Approved |
Most recent IF: 1.455; 2013 IF: 1.694 |
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Call Number |
UA @ admin @ c:irua:108263 |
Serial |
5908 |
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Van der Stighelen, K.; Janssens, K.; van der Snickt, G.; Alfeld, M.; Van Beneden, B.; Demarsin, B.; Proesmans, M.; Marchal, G.; Dik, J. |
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Young Anthony van Dyck revisited : a multidisciplinary approach to a portrait once attributed to Peter Paul Rubens |
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A3 Journal article |
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2014 |
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Art matters : international journal for technical art history |
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6 |
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21-35 |
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A3 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation) |
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Part of the collection of the Rubens House in Antwerp is a portrait of young Anthony van Dyck, alternatively attributed to Peter Paul Rubens and his pupil Anthony van Dyck. In order to reconstruct the genesis of the portrait in a manner that improves upon past investigations, a number of high-end technological methods, such as X-radiography, X-ray computer tomography, mammographic tomosynthesis and macroscopic X-ray fluorescence, have been employed to render the overpainted layers visible again. The results of the interdisciplinary examinations of the portrait of the youthful Van Dyck are impressive. The combined results allow the later additions to be peeled away until the original composition can be reached. Several pentimenti are easily discernible and refer to a rather immature hand that makes the authorship of Peter Paul Rubens very unlikely. What emerges is a portrait of an ambitious young man with a luxuriant head of hair and a slightly turned-up collar. The hat and cape were added later. The facial features are more recognisable and the execution of the bold curls points irrefutably in the direction of Anthony van Dyck as the author of his own portrait. |
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Most recent IF: NA |
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Call Number |
UA @ admin @ c:irua:122562 |
Serial |
5922 |
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