|
“Enamels in stained-glass windows : preparation, chemical composition, microstructure and causes of deterioration”. Caen J, Schalm O, van der Snickt G, van der Linden V, Frederickx P, Schryvers D, Janssens K, Cornelis E, van Dyck D, Schreiner M, , 121 (2005)
Keywords: P3 Proceeding; Art; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Vision lab
|
|
|
“Macro X-ray fluorescence (MA-XRF) scanning : a new and efficient method for documenting stained-glass panels”. Caen J, Legrand S, van der Snickt G, Janssens K, (2015)
Keywords: P3 Proceeding; Engineering sciences. Technology; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
|
|
|
“Synchroton X-ray powder diffraction study of lead white oxidation by sodium hypochloride”. Clerici EA, De Meyer S, van der Snickt G, Janssens K, , 13 (2017)
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“The SALUT project : study of advanced laser techniques for the uncovering of polychromed works of art”. van der Snickt G, de Boeck A, Keutgens K, Anthierens D, 116, 151 (2007)
Abstract: In order to find out whether the existing laser systems can be employed to remove superimposed layers of paint on secco wall paintings in a selective way, laser tests were carried out on three types of prepared samples simulating three stratigraphies that are frequently encountered in practice. OM, EPMA, colorimetry, mu Raman, and FT-IR were used to evaluate the results. It was found that Q-switched Nd:YAG lasers emitting at 1,064 nm could be employed to remove unwanted layers of oil paint and limewash, but the treatment of large areas requires implementation of a computer-controlled X-Y-Z station in order to control the parameters. However, the applicability of this technique will remain limited as ablation at the established optimum parameters implied a discoloration of the pigments cinnabar, yellow ochre, and burnt sienna. Moreover, it was observed that no ablation took place when the limewash thickness exceeds 25 mu m. Unwanted layers of acrylic could be removed in an efficient way with an excimer laser emitting at 193 nm.
Keywords: P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“Reconstructing Sweerts : practical insights into the historical dark halo technique based on paint reconstructions”. Derks K, Youchaeva M, Van der Snickt G, Van der Stighelen K, Janssens K, , 259 (2024)
Keywords: P1 Proceeding; Engineering sciences. Technology; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
|
|
|
“Combined micro-XRF/XRPD tomography on historical and modern paint multilayer samples at Beamline L”. de Nolf W, Jaroszewicz J, van der Snickt G, Janssens K, Farnell S, Klaassen L page 1633 (2008).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“High-E scanning m-XRF experiment on test paintings”. Dik J, Janssens K, van der Snickt G, Wallert A, Rickers K, Falkenberg G page 1589 (2008).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“Pigment identification by scanning μ-XRF/μ-XRD”. de Nolf W, Vekemans B, Janssens K, van der Snickt G, Falkenberg G (2007).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“Velázquez? A portrait of Pope Innocent X : an X-ray imaging investigation (II)”. Vanmeert F, Van der Snickt G, Legrand S, Janssens K page 132 (2019).
Abstract: Encompassing a broad spectrum of methodological approaches and aims, the scholars contributing to this volume offer renewed perspectives on the multifaceted oeuvre of Diego Velázquez. The seventeenth-century artist’s exceptional religious works as well as his numerous portraits are examined within the social and historical context of Velázquez’s milieu which included both the Spanish court as well as circles comprising important intellectual figures of his time. Following a close investigation of his works, which also includes the results of recent technological examinations on his paintings, the contributors to this volume offer new, exciting findings and discussions on the inspirations, sources and possible intentions of Velázquez.
Keywords: H3 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“Examination of Vincent van Gogh's paintings and pigments by means of state-of-the-art analytical methods”. Janssens K, Alfeld M, Van der Snickt G, De Nolf W, Vanmeert F, Monico L, Legrand S, Dik J, Cotte M, Falkenberg G, van der Loeff L, Leeuwestein M, Hendriks E page 373 (2014).
Abstract: Recent studies in which X-ray beams of macroscopic to (sub) microscopic dimensions were used for non-destructive analysis and characterization of pigments, paint micro samples and/or entire paintings by Vincent van Gogh are concisely reviewed. The overview presented encompasses the use of laboratory and synchrotron radiation-based instrumentation and deals with the use of several variants of X-ray fluorescence (XRF) as a method of elemental analysis and imaging as well as with the combined use of X-ray diffraction (XRD) and X-ray absorption spectroscopy (XAS). Microscopic and macroscopic XRF are variants of the method that are well suited to visualize the elemental distribution of key elements, mostly metals, present in paint multi layers, either on the length scale from 1–100 μm inside micro samples taken from paintings or on the 1–100 cm length scale when the (subsurface) distribution of specific pigments in entire paintings is concerned. In the context of the characterization of van Gogh's pigments subject to natural degradation, the use of methods limited to elemental analysis or imaging usually is not sufficient to elucidate the chemical transformations that have taken place. However, at synchrotron facilities, combinations of μ-XRF with related methods such as μ-XAS and μ-XRD have proven themselves to be very suitable for such studies. Their use is often combined with microscopic Fourier transform infra-red (μ-FTIR) spectroscopy since this method delivers complementary information at more or less the same length scale as the X-ray microprobe techniques. Also in the context of macroscopic imaging of works of art, the complementary use of X-ray based and infra-red based imaging appears very promising; some recent developments are discussed.
Keywords: H2 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
DOI: 10.1039/9781839161957-00373
|
|
|
“Non-invasive and non-destructive examination of artists’ pigments, paints and paintings by means of X-ray imaging methods”. Vanmeert F, De Meyer S, Gestels A, Clerici EA, 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 page 317 (2022).
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.
Keywords: H1 Book chapter; Art; Antwerp Cultural Heritage Sciences (ARCHES); Antwerp X-ray Imaging and Spectroscopy (AXIS)
DOI: 10.1007/978-3-030-86865-9_11
|
|
|
“Characterization and removal of a disfiguring oxalate crust on a large altarpiece by Hans Memling”. Klaassen L, van der Snickt G, Legrand S, Higgitt C, Spring M, Vanmeert F, Rosi F, Brunetti BG, Postec M, Janssens K page 263 (2019).
Abstract: During the conservation treatment of Memling’s Christ with Singing and Music-making Angels, three panel paintings that are among the most monumental works in early Netherlandish art, the conservators came across insoluble surface layers containing calcium oxalates. A very thin and irregular layer of this type, hardly visible to the naked eye, was spread across the surface of all three panels. A much thicker layer forming an opaque and highly disfiguring crust that obscured the composition (Figs. 15.1 and 15.7) was locally present on areas of dark copper-containing paint, where multiple layers of old discolored coatings and accretions remained in place before the most recent cleaning. This article describes the application of a wide range of analytical techniques in order to fully understand the stratigraphy and composition of the crusts on the Memling paintings. FTIR spectroscopy in transmission and reflection mode, micro-ATR-FTIR imaging and macro-rFTIR scanning, SEM-EDX, mobile XRD, and SR-μXRD showed that the crusts contained two related Ca-based oxalate salts, whewellite and weddellite, and were separated from the original paint surface by varnish, indicating that they did not originate from degradation of the original paint but from a combination of microbial action and a thick accumulation of dirt. Supported by the results from these different analytical techniques, which when used together proved to be very effective in providing complementary information that addressed this specific conservation problem, and aided by the presence of the intermediate varnish layer(s), the conservators were able to remove most of the crusts with spectacular results.
Keywords: H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1007/978-3-319-90617-1_15
|
|
|
“Chemical alteration and colour changes in the Amsterdam sunflowers”. Monico L, Hendriks E, Geldof M, Miliani C, Janssens K, Brunetti BG, Cotte M, Vanmeert F, Chieli A, Van der Snickt G, Romani A, Melo MJ page 125 (2019).
Abstract: This chapter provides a description of colour changes in the Amsterdam Sunflowers due to chemical alteration of pigments, with a focus on geranium lakes and chrome yellows. The brilliant and forceful colours of these and other late nineteenth-century synthetic materials offered artists such as Vincent van Gogh new means of artistic expression that exploited a range of contrasting hues and tints. However, geranium lakes have a strong tendency to fade and chrome yellows to darken under the influence of light. Van Gogh, like other artists of his day, was aware of this drawback, yet he continued to favour the use of both pigments up until his death in July 1890 due to the unparalleled effects they gave. In April 1888, Vincent wrote to his brother Theo: Van Gogh's use of unstable colours opens a series of questions regarding the extent to which colour change affects the way his paintings look today, as discussed here in relation to the Amsterdam Sunflowers. Furthermore, given the frequency with which geranium lakes and chrome yellows occur in Van Gogh's paintings of the period 1888–90 and the predominance of chrome yellows in Sunflowers, it becomes important to understand the factors that can drive these processes of deterioration in order to develop appropriate strategies for conserving the artist's works.
Keywords: H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1017/9789048550531.006
|
|
|
“Conservation of the Amsterdam sunflowers : from past to future”. Hendriks E, Geldof M, van den Berg KJ, Monico L, Miliani C, Moretti P, Iwanicka M, Targowski P, Megens L, de Groot S, van Keulen H, Janssens K, Vanmeert F, van der Snickt G page 175 (2019).
Abstract: This chapter lays out a conservation timeline, from past to future, for the Amsterdam version of Van Gogh's Sunflowers. It starts by considering the restoration history of the painting in order to assess its current physical state, and looks ahead to formulate an appropriate strategy for future conservation treatment and display. Due attention is paid to the two recorded episodes of restoration performed in 1927 and 1961 by the Dutch restorer, Jan Cornelis Traas. Based on physical and chemical investigation of Sunflowers we attempt to reconstruct what these former treatments (which are barely documented) entailed and consider the repercussions for the present condition of the painting. The former interventions by Traas also serve as a benchmark to reflect on current choices made, highlighting the extent to which ideas and methodologies have continued to evolve over the past century as conservation has moved further away from being a singularly craft-based activity to become an established historical and scientific discipline underpinned by ethical guidelines. Jan Cornelis Traas (1898–1984) As mentioned, the two main recorded interventions to the Amsterdam Sunflowers may be associated with the Dutch restorer, Jan Cornelis Traas, who treated the picture in 1927, close to the start of his career, and again in 1961, shortly before he retired. Traas was the first restorer to be appointed at the Mauritshuis in The Hague where he worked from 1931 to 1962 and treated hundreds of paintings, including iconic masterpieces such as Girl with a Pearl Earring by Johannes Vermeer. Yet despite the magnitude and importance of his restoration oeuvre, J.C. Traas (as he is usually referred to in surviving documents), has remained somewhat obscure. He is shown here in the only known surviving photograph of him at work, shortly before he retired (fig. 7.1). Unlike his illustrious contemporaries, A. Martin de Wild (1899–1969) and Helmut Ruhemann (1891–1973), for example, Traas did not publish anything, he appears to have kept no records of his work and no personal archive is known. However, the study of some newly discovered historical documents, combined with physical examination of Sunflowers and a large number of other works he treated, allows us to recover an idea of his working practices and approaches viewed within the context of his day.
Keywords: H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1017/9789048550531.008
|
|
|
“Methods and materials of the Amsterdam sunflowers”. Geldof M, Monico L, Johnson DH, Miliani C, Romani A, Grazia C, Buti D, Brunetti BG, Janssens K, Van der Snickt G, Vanmeert F page 85 (2019).
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).
Keywords: H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
DOI: 10.1017/9789048550531.005
|
|
|
van der Snickt G (2012) James Ensor's pigments studied by means of portable and synchrotron radiation-based X-ray techniques : evolution, context and degradation. 501 p
Keywords: Doctoral thesis; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“Young Anthony van Dyck revisited : a multidisciplinary approach to a portrait once attributed to Peter Paul Rubens”. Van der Stighelen K, Janssens K, van der Snickt G, Alfeld M, Van Beneden B, Demarsin B, Proesmans M, Marchal G, Dik J, Art matters : international journal for technical art history 6, 21 (2014)
Abstract: 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.
Keywords: A3 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
|
|
|
“Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of synchrotron X-ray spectromicroscopy and related methods : 1 : artificially aged model samples”. Monico L, van der Snickt G, Janssens K, de Nolf W, Miliani C, Verbeeck J, Tian H, Tan H, Dik J, Radepont M, Cotte M, Analytical chemistry 83, 1214 (2011). http://doi.org/10.1021/ac102424h
Abstract: On several paintings by artists of the end of the 19th century and the beginning of the 20th Century a darkening of the original yellow areas, painted with the chrome yellow pigment (PbCrO4, PbCrO4·xPbSO4, or PbCrO4·xPbO) is observed. The most famous of these are the various Sunflowers paintings Vincent van Gogh made during his career. In the first part of this work, we attempt to elucidate the degradation process of chrome yellow by studying artificially aged model samples. In view of the very thin (1−3 μm) alteration layers that are formed, high lateral resolution spectroscopic methods such as microscopic X-ray absorption near edge (μ-XANES), X-ray fluorescence spectrometry (μ-XRF), and electron energy loss spectrometry (EELS) were employed. Some of these use synchrotron radiation (SR). Additionally, microscopic SR X-ray diffraction (SR μ-XRD), μ-Raman, and mid-FTIR spectroscopy were employed to completely characterize the samples. The formation of Cr(III) compounds at the surface of the chrome yellow paint layers is particularly observed in one aged model sample taken from a historic paint tube (ca. 1914). About two-thirds of the chromium that is present at the surface has reduced from the hexavalent to the trivalent state. The EELS and μ-XANES spectra are consistent with the presence of Cr2O3·2H2O (viridian). Moreover, as demonstrated by μ-XANES, the presence of another Cr(III) compound, such as either Cr2(SO4)3·H2O or (CH3CO2)7Cr3(OH)2 [chromium(III) acetate hydroxide], is likely.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 113
DOI: 10.1021/ac102424h
|
|
|
“Enamels in stained glass windows: preparation, chemical composition, microstructure and causes of deterioration”. Schalm O, van der Linden V, Frederickx P, Luyten S, van der Snickt G, Caen J, Schryvers D, Janssens K, Cornelis E, van Dyck D, Schreiner M, Spectrochimica acta: part B : atomic spectroscopy 64, 812 (2009). http://doi.org/10.1016/j.sab.2009.06.005
Abstract: Stained glass windows incorporating dark blue and purple enamel paint layers are in some cases subject to severe degradation while others from the same period survived the ravages of time. A series of dark blue, greenblue and purple enamel glass paints from the same region (Northwestern Europe) and from the same period (16early 20th centuries) has been studied by means of a combination of microscopic X-ray fluorescence analysis, electron probe micro analysis and transmission electron microscopy with the aim of better understanding the causes of the degradation. The chemical composition of the enamels diverges from the average chemical composition of window glass. Some of the compositions appear to be unstable, for example those with a high concentration of K2O and a low content of CaO and PbO. In other cases, the deterioration of the paint layers was caused by the less than optimal vitrification of the enamel during the firing process. Recipes and chemical compositions indicate that glassmakers of the 1617th century had full control over the color of the enamel glass paints they made. They mainly used three types of coloring agents, based on Co (dark blue), Mn (purple) and Cu (light-blue or greenblue) as coloring elements. Bluepurple enamel paints were obtained by mixing two different coloring agents. The coloring agent for redpurple enamel, introduced during the 19th century, was colloidal gold embedded in grains of lead glass.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Vision lab
Impact Factor: 3.241
Times cited: 28
DOI: 10.1016/j.sab.2009.06.005
|
|
|
“Non-invasive and non-destructive examination of artistic pigments, paints, and paintings by means of X-Ray methods”. 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, Topics in Current Chemistry 374, 81 (2016). http://doi.org/10.1007/S41061-016-0079-2
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.
Keywords: A1 Journal article; Electron microscopy for materials research (EMAT); AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 4.033
Times cited: 50
DOI: 10.1007/S41061-016-0079-2
|
|
|
“A mobile instrument for in situ scanning macro-XRF investigation of historical paintings”. Alfeld M, Pedroso JV, van Hommes ME, van der Snickt G, Tauber G, Blaas J, Haschke M, Erler K, Dik J, Janssens K, Journal of analytical atomic spectrometry 28, 760 (2013). http://doi.org/10.1039/C3JA30341A
Abstract: Scanning macro-X-ray fluorescence analysis (MA-XRF) is rapidly being established as a technique for the investigation of historical paintings. The elemental distribution images acquired by this method allow for the visualization of hidden paint layers and thus provide insight into the artist's creative process and the painting's conservation history. Due to the lack of a dedicated, commercially available instrument the application of the technique was limited to a few groups that constructed their own instruments. We present the first commercially available XRF scanner for paintings, consisting of an X-ray tube mounted with a Silicon-Drift (SD) detector on a motorized stage to be moved in front of a painting. The scanner is capable of imaging the distribution of the main constituents of surface and sub-surface paint layers in an area of 80 by 60 square centimeters with dwell times below 10 ms and a lateral resolution below 100 mu m. The scanner features for a broad range of elements between Ti (Z = 22) and Mo (Z = 42) a count rate of more than 1000 counts per second (cps)?mass percent and detection limits of 100 ppm for measurements of 1 s duration. Next to a presentation of spectrometric figures of merit, the value of the technique is illustrated through a case study of a painting by Rembrandt's student Govert Flinck (1615-1660).
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 3.379
Times cited: 106
DOI: 10.1039/C3JA30341A
|
|
|
“Artificial orpiment, a new pigment in Rembrandt's palette”. van Loon A, Noble P, Krekeler A, van der Snickt G, Janssens K, Abe Y, Nakai I, Dik J, Heritage science 5, 26 (2017). http://doi.org/10.1186/S40494-017-0138-1
Abstract: This paper reports on how the application of macro X-ray fluorescence (MA-XRF) imaging, in combination with the re-examination of existing paint cross-sections, has led to the discovery of a new pigment in Rembrandt's palette: artificial orpiment. In the NWO Science4Arts 'ReVisRembrandt' project, novel chemical imaging techniques are being developed and applied to the study of Rembrandt's late paintings in order to help resolve outstanding questions and to gain a better understanding of his late enigmatic painting technique. One of the selected case studies is the Portrait of a Couple as Isaac and Rebecca, known as 'The Jewish Bride', dated c. 1665 and on view in the Rijksmuseum. During the re-installation of the Rijksmuseum in 2013, the picture was scanned using the Bruker M6 Jetstream MAXRF scanner. The resulting elemental distribution maps made it possible to distinguish many features in the painting, such as bone black remains of the original hat (P, Ca maps), and the now discolored smalt-rich background (Co, Ni, As, K maps). The arsenic (As) map also revealed areas of high-intensity in Isaac's sleeve and Rebecca's dress where it could be established that it was not related with the pigment smalt that also contains arsenic. This pointed to the presence of a yellow or orange arsenic-containing pigment, such as realgar or orpiment that is not associated with the artist's palette. Subsequent examination of existing paint cross-sections from these locations taken by Karin Groen in the 1990s identified isolated, almost perfectly round particles of arsenic sulfide. The round shape corresponds with published findings on a purified form of artificial orpiment glass obtained by dry processing, a sublimation reaction. In bright field, the particles characteristically exhibit a dark cross in the middle caused by internal light reflections. The results of additional non-invasive techniques (portable XRD and portable Raman) are discussed, as well as the implications of this finding and how it fits with Rembrandt's late experimental painting technique.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Times cited: 6
DOI: 10.1186/S40494-017-0138-1
|
|
|
“Blue enamel on sixteenth- and seventeenth-century window glass : deterioration, microstructure, composition and preparation”. van der Snickt G, Schalm O, Caen J, Janssens K, Schreiner M, Studies in conservation 51, 212 (2006). http://doi.org/10.1179/SIC.2006.51.3.212
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 0.578
Times cited: 8
DOI: 10.1179/SIC.2006.51.3.212
|
|
|
“Characterization of a degraded cadmium yellow (CdS) pigment in an oil painting by means of synchrotron radiation based X-ray techniques”. van der Snickt G, Dik J, Cotte M, Janssens K, Jaroszewicz J, de Nolf W, Groenewegen J, van der Loeff L, Analytical chemistry 81, 2600 (2009). http://doi.org/10.1021/AC802518Z
Abstract: On several paintings of James Ensor (1860−1949), a gradual fading of originally bright yellow areas, painted with the pigment cadmium yellow (CdS), is observed. Additionally, in some areas exposed to light, the formation of small white-colored globules on top of the original paint surface is observed. In this paper the chemical transformation leading to the color change and to the formation of the globules is elucidated. Microscopic X-ray absorption near-edge spectroscopy (ì-XANES) experiments show that sulfur, originally present in sulfidic form (S2−), is oxidized during the transformation to the sulfate form (S6+). Upon formation (at or immediately below the surface), the highly soluble cadmium sulfate is assumed to be transported to the surface in solution and reprecipitates there, forming the whitish globules. The presence of cadmium sulfate (CdSO4·2H2O) and ammonium cadmium sulfate [(NH4)2Cd(SO4)2] at the surface is confirmed by microscopic X-ray diffraction measurements, where the latter salt is suspected to result from a secondary reaction of cadmium sulfate with ammonia. Measurements performed on cross sections reveal that the oxidation front has penetrated into the yellow paint down to ca. 1−2 ìm. The morphology and elemental distribution of the paint and degradation product were examined by means of scanning electron microscopy equipped with an energy-dispersive spectrometer (SEM-EDS) and synchrotron radiation based micro-X-ray fluorescence spectrometry (SR ì-XRF). In addition, ultraviolet-induced visible fluorescence photography (UIVFP) revealed itself to be a straightforward technique for documenting the occurrence of this specific kind of degradation on a macroscale by painting conservators.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 91
DOI: 10.1021/AC802518Z
|
|
|
“Chemical imaging of stained-glass windows by means of macro X-ray fluorescence (MA-XRF) scanning”. van der Snickt G, Legrand S, Caen J, Vanmeert F, Alfeld M, Janssens K, Microchemical journal 124, 615 (2016). http://doi.org/10.1016/J.MICROC.2015.10.010
Abstract: Since the recent development of a mobile setup, MA-XRF scanning proved a valuable tool for the non-invasive, technical study of paintings. In this work, the applicability of MA-XRF scanning for investigating stained-glass windows inside a conservation studio is assessed by analysis of a high-profile, well-studied late-mediaeval panel. Although accurate quantification of components is not feasible with this analytical imaging technique, plotting the detected intensities of K versus Ca in a scatter plot allowed distinguishing glass fragments of different compositional types within the same panel. In particular, clusters in the Ca/K correlation plot revealed the presence of two subtypes of potash glass and three subtypes of high lime low alkali glass. MA-XRF results proved consistent with previous quantitative SEM-EDX analysis on two samples and analytical-based theories on glass production in the Low Countries formulated in literature. A bi-plot of the intensities of the more energetic Rb-K versus Sr-K emission lines yielded a similar glass type differentiation and is here presented as suitable alternative in case the Ca/K signal ratio is affected by superimposed weathering crusts. Apart from identification of the chromophores responsible for the green, blue and red glass colors, contrasting the associated elemental distribution maps obtained on the exterior and interior side of the glass permitted discriminating between colored pot metal glass and multi-layered flashed glass as well. Finally, the benefit of obtaining compositional information from the entire surface, as opposed to point analysis, was illustrated by the discovery of what appears to be a green cobalt glass a feature that was previously missed on this well-studied stained-glass window, both by connoisseurs and spectroscopic sample analysis. (C) 2015 Elsevier B.V. All rights reserved.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Impact Factor: 3.034
Times cited: 22
DOI: 10.1016/J.MICROC.2015.10.010
|
|
|
“Chemical Mapping by Macroscopic X-ray Powder Diffraction (MA-XRPD) of Van Gogh's Sunflowers : identification of areas with higher degradation risk”. Vanmeert F, Hendriks E, van der Snickt G, Monico L, Dik J, Janssens K, Angewandte Chemie: international edition in English 57, 7418 (2018). http://doi.org/10.1002/ANIE.201713293
Abstract: The discoloration rate of chrome yellow (CY), a class of synthetic inorganic pigments (PbCr1-xSxO4) frequently used by Van Gogh and his contemporaries, strongly depends on its sulfate content and on its crystalline structure (either monoclinic or orthorhombic). Macroscopic X-Ray powder diffraction imaging of selected areas on Van Gogh's Sunflowers (Van Gogh Museum, Amsterdam) revealed the presence of two subtypes of CY: the light-fast monoclinic PbCrO4 (LF-CY) and the light-sensitive monoclinic PbCr1-xSxO4 (x approximate to 0.5; LS-CY). The latter was encountered in large parts of the painting (e.g., in the pale-yellow background and the bright-yellow petals, but also in the green stems and flower hearts), thus indicating their higher risk for past or future darkening. Overall, it is present in more than 50% of the CY regions. Preferred orientation of LS-CY allows observation of a significant ordering of the elongated crystallites along the direction of Van Gogh's brush strokes.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 11.994
Times cited: 10
DOI: 10.1002/ANIE.201713293
|
|
|
“Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius”. Simoen J, De Meyer S, Vanmeert F, De Keyser N, Avranovich E, van der Snickt G, Van Loon A, Keune K, Janssens K, Heritage science 7, 83 (2019). http://doi.org/10.1186/S40494-019-0324-4
Abstract: The spontaneous chemical alteration of artists' pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As2S3) or realgar (alpha-As4S4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (mu-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO4), mimetite (Pb-5(AsO4)(3)Cl), palmierite (K2Pb(SO4)(2)) and syngenite (K2Ca(SO4)(2)center dot H2O) have formed. Closer inspection of the cross-sectioned paint layer stack with mu-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.
Keywords: A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Times cited: 2
DOI: 10.1186/S40494-019-0324-4
|
|
|
“Combined use of synchrotron radiation based micro-X-ray fluorescence, micro-X-ray diffraction, micro-X-ray absorption near-edge, and micro-fourier transform infrared spectroscopies for revealing an alternative degradation pathway of the pigment cadmium yellow in a painting by Van Gogh”. van der Snickt G, Janssens K, Dik J, de Nolf W, Vanmeert F, Jaroszewicz J, Cotte M, Falkenberg G, Van der Loeff L, Analytical chemistry 84, 10221 (2012). http://doi.org/10.1021/AC3015627
Abstract: Over the past years a number of studies have described the instability of the pigment cadmium yellow (CdS). In a previous paper we have shown how cadmium sulfide on paintings by James Ensor oxidizes to CdSO4 center dot H2O. The degradation process gives rise to the fading of the bright yellow color and the formation of disfiguring white crystals that are present on the paint surface in approximately 50 mu m sized globular agglomerations. Here, we study cadmium yellow in the painting “Flowers in a blue vase” by Vincent van Gogh. This painting differs from the Ensor case in the fact that (a) a varnish was superimposed onto the degraded paint surface and (b) the CdS paint area is entirely covered with an opaque crust. The latter obscures the yellow color completely and thus presents a seemingly more advanced state of degradation. Analysis of a cross-sectioned and a crushed sample by combining scanning microscopic X-ray diffraction (mu-XRD), microscopic X-ray absorption near-edge spectroscopy (mu-XANES), microscopic X-ray fluorescence (mu-XRF) based chemical state mapping and scanning microscopic Fourier transform infrared (mu-FT-IR) spectrometry allowed unravelling the complex alteration pathway. Although no crystalline CdSO4 compounds were identified on the Van Gogh paint samples, we conclude that the observed degradation was initially caused by oxidation of the original CdS pigment, similar as for the previous Ensor case. However, due to the presence of an overlying varnish containing lead-based driers and oxalate ions, secondary reactions took place. In particular, it appears that upon the photoinduced oxidation of its sulfidic counterion, the Cd2+ ions reprecipitated at the paint/varnish interface after having formed a complex with oxalate ions that themselves are considered to be degradation products of the resin and/or oil in the varnish. The SO42- anions, for their part, found a suitable reaction partner in Pb2+ ions stemming from a dissolved lead-based siccative that was added to the varnish to promote its drying. The resulting opaque anglesite compound in the varnish, in combination with the underlying CdC2O4 layer at the paint/varnish interface, account for the orange-gray crust that is disfiguring the painting on a macroscopic level. In this way, the results presented in this paper demonstrate how, through a judicious combined use of several microanalytical methods with speciation capabilities, many new insights can be obtained from two minute, but highly complex and heterogeneous paint samples.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 59
DOI: 10.1021/AC3015627
|
|
|
“Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of spectromicroscopic methods : 4 : artificial aging of model samples of co-precipitates of lead chromate and lead sulfate”. Monico L, Janssens K, Miliani C, van der Snickt G, Brunetti BG, Guidi MC, Radepont M, Cotte M, Analytical chemistry 85, 860 (2013). http://doi.org/10.1021/AC3021592
Abstract: Previous investigations about the darkening of chrome yellow pigments revealed that this form of alteration is attributable to a reduction of the original Cr(VI) to Cr(III), and that the presence of sulfur-containing compounds, most often sulfates, plays a key role during this process. We recently demonstrated that different crystal forms of chrome yellow pigments (PbCrO4 and PbCr1xSxO4) are present in paintings by Vincent van Gogh. In the present work, we show how both the chemical composition and the crystalline structure of lead chromate-based pigments influence their stability. For this purpose, oil model samples made with in-house synthesized powders of PbCrO4 and PbCr1xSxO4 were artificially aged and characterized. We observed a profound darkening only for those paint models made with PbCr1xSxO4, rich in SO42 (x ≥ 0.4), and orthorhombic phases (>30 wt %). Cr and S K-edge micro X-ray absorption near edge structure investigations revealed in an unequivocal manner the formation of up to about 60% of Cr(III)-species in the outer layer of the most altered samples; conversely, independent of the paint models chemical composition, no change in the S-oxidation state was observed. Analyses employing UVvisible diffuse reflectance and Fourier transform infrared spectroscopy were performed on unaged and aged model samples in order to obtain additional information on the physicochemical changes induced by the aging treatment.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 49
DOI: 10.1021/AC3021592
|
|
|
“Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of spectromicroscopic methods : part 5 : effects of nonoriginal surface coatings into the nature and distribution of chromium and sulfur species in chrome yellow paints”. Monico L, Janssens K, Vanmeert F, Cotte M, Brunetti BG, van der Snickt G, Leeuwestein M, Plisson JS, Menu M, Miliani C, Analytical chemistry 86, 10804 (2014). http://doi.org/10.1021/AC502841G
Abstract: The darkening of lead chromate yellow pigments, caused by a reduction of the chromate ions to Cr(III) compounds, is known to affect the appearance of several paintings by Vincent van Gogh. In previous papers of this series, we demonstrated that the darkening is activated by light and depends on the chemical composition and crystalline structure of the pigments. In this work, the results of Part 2 are extended and complemented with a new study aimed at deepening the knowledge of the nature and distribution of Cr and S species at the interface between the chrome yellow paint and the nonoriginal coating layer. For this purpose, three microsamples from two varnished paintings by Van Gogh and a waxed low relief by Gauguin (all originally uncoated) have been examined. Because nonoriginal coatings are often present in artwork by Van Gogh and contemporaries, the understanding of whether or not their application has influenced the morphological and/or physicochemical properties of the chrome yellow paint underneath is relevant in view of the conservation of these masterpieces. In all the samples studied, microscopic X-ray fluorescence (mu-XRF) and X-ray absorption near edge structure (mu-XANES) investigations showed that Cr(III)-based alteration products are present in the form of grains inside the coating (generally enriched of S species) and also homogeneously widespread at the paint surface. The distribution of Cr(III) species may be explained by the mechanical friction caused by the coating application by brush that picked up and redistributed the superficial Cr compounds, likely already present in the reduced state as result of the photodegradation process. The analysis of the XANES profiles allowed us to obtain new insights into the nature of the Cr(III) alteration products, that were identified as sulfate-, oxide-, organo-metal-, and chloride-based compounds. Building upon the knowledge acquired through the examination of original paint samples and from the investigation of aged model paints in the last Part 4 paper, in this study we aim to characterize a possible relation between the chemical composition of the coating and the chrome yellow degradation pathways by studying photochemically aged model samples covered with a dammar varnish contaminated with sulfide and sulfate salts. Cr speciation results did not show any evidence of the active role of the varnish and added S species on the reduction process of chrome yellows.
Keywords: A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Impact Factor: 6.32
Times cited: 25
DOI: 10.1021/AC502841G
|
|