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“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
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“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
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“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
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“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
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“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
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“The consolidation of cracks and fissures in dalle de verre : assessment of selected adhesives”. De Vis K, Caen J, Janssens K, Jacobs P page 43 (2013).
Abstract: Dalle de verre windows, created from 19301940 onwards, consist of glass pieces with a thickness of approximately 2 to 5 cm, set in a matrix of (reinforced) concrete. Besides the degradation of the concrete, the windows suffer mainly from a complex three-dimensional form of cracking of the glass elements. The cracks need to be consolidated in order to ensure stability and improve transparency. A selection of possible adhesives was evaluated: Araldite® 2020, Hxtal NYL-1, Fynebond, Paraloid® B-72, LV740, A18 and OR-G®. An attempt has been made to objectively compare these adhesives using a bench-marking system. None of the adhesives appears to be suitable for in situ application; sufficient penetration of the adhesives can only be realised with the help of vacuum techniques.
Keywords: H2 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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“High-resolution desktop microcomputed tomography for the evaluation of reducing treatments on historical glass suffering from manganese browning”. Nuyts G, Cagno S, Jaroszewicz J, Wouters H, De Vis K, Caen J, Janssens K page 201 (2013).
Abstract: Historical glass, especially non-durable mediaeval glass, can undergo corrosion. This sometimes results in the formation of dark-coloured manganese-rich inclusions or stains that reduce the transparency of the glass. A conservation treatment with reducing or chelating agents may be considered with the aim of improving the transparency. In this paper, high-resolution desktop microcomputed tomography (µCT) is used in combination with element-specific twodimensional imaging methods for in situ monitoring of manganese removal by hydroxylamine hydrochloride from an archaeological stained-glass sample suffering from manganese browning and from artificially corroded model glass samples. µCT also proved itself useful for the study of the (re-)penetration of manganese into the gel layer during artificial corrosion of a model glass.
Keywords: H2 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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“The stained-glass panel depicting the anointing at Bethany : art historical research, technical analysis, and treatment”. Caen J, Cagno S, Janssens K page 247 (2013).
Abstract: In 2008, Museum M in Louvain (Flanders, Belgium) acquired a panel depicting The Anointing at Bethany that is believed once to have adorned the citys former Charterhouse. The panel required conservation treatment, which was preceded by a thorough art-historical and technical examination. It emerged that comparable panels are kept at the Metropolitan Museum of Art and the Riverside Church in New York. Chemical analyses show most of the glass in the panel to have a typical 16th century high-limelow-alkali composition. The conservation treatment was based on the evaluation of these findings and focused very strongly on enhancing the aesthetic balance for an improved reading of the panel.
Keywords: H2 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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“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
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“2θ-resolution obtainable during – XRPD experiments at Beamline L”. de Nolf W, Jaroszewicz J, Janssens K, Falkenberg G page 1655 (2008).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Analysis of façon-de-Venise glass originating from Central and Western Europe”. Šmit Ž, Janssens K, Schalm O, Kos M page 165 (2005).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Analysis of the composition of glass objects from Qumran, Israel and the comparison with other Roman glass from western Europe”. Aerts A, Janssens K, Velde B, Adams F, Wouters H page 113 (2000).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Applications in art and archaeology”. Janssens K, Adams F page 290 (2000).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Assessing the origin and fate of Cr, Ni, Cu, Zn, Pb, and V in an industrial polluted soil by combined micro-spectroscopic techniques and bulk extraction methods”. Terzano R, Spagnuolo M, Vekemans B, de Nolf W, Janssens K, Falkenberg G, Fiore S, Ruggiero P (2008).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Characterization of carcinogenic Ni-rich dust particles by scanning micro-XRF/XRD at BL L”. de Nolf W, Janssens K, Rickers K (2005).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Characterization of Yenisey River U-particles using a combination of μ-XRF, μ-XRD and U-LIII μ-XANES”. Lind OC, Claussen-Kjerre L, de Nolf W, Falkenberg G, Jaroszewicz J, Janssens K, Salbu B page 1279 (2008).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Chemical analysis of the powder deposit on Chinese jade objects”. Aerts A, Janssens K, Adams F page 12 (1995).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“A chemical investigation of altered Chinese jade art objects”. Aerts A, Janssens K, Adams F page 170 (1997).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“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)
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“Combined use of μ-XRF and μ-XRD for characterization of radioactive particle clusters released during the Chernobyl reactor incident”. Jaroszewicz J, de Nolf W, Janssens K, Claussen-Kjerre L, Lind OC, Salbu B, Falkenberg G (2007).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Combined use of μ-XRF and μ-XRD to determine the heterogeneity, the chemical and phase composition of Ti-B-C ceramics prepared by the pulse plasma sintering (PPS) method”. Jaroszewicz J, de Nolf W, Janssens K, Michalski A, Falkenberg G (2007).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Comparison with other microanalytical techniques”. Janssens K page 211 (2000).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Composition of facon-de-venise and Venetian glass from Antwerp and the Southern Netherlands”. de Raedt I, Janssens K, Veeckman J, Adams F page 346 (2000).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Confocal μ-XRF and μ-XAFS studies of fractured granite following a radiotracer migration experiment”. Denecke MA, Janssens K, Brendebach B, Falkenberg G, de Nolf W, Römer J (2007).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Confocal micro-XRF study of element distribution of a uranium enriched tertiary sediment”. Janssens K, Denecke M, Rothe J, Simon R page 13 (2005).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Depth profiling of multilayered systems by means of confocal μ-XRF in the laboratory an at HASYLAB BL L: a comparison”. Alfeld M, Vekemans B, Janssens K, Falkenberg G, Broekaert JAC, Gao N, Gibson D (2007).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Determination of Zn distribution inside edible plants grown on a polluted soil amended with compost by XRF microtomography”. Terzano R, al Chami Z, Vekemans B, Janssens K, Miano T, Ruggiero P (2007).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Estimation of relative Fe2+ and Fe3+ contents of original manuscript fragments by means of μ-XANES and Mössbauer spectrometry”. Janssens K, Vekemans B, Rouchon-Quillet V (2005).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Evaluation and calibration of micro-XRF data”. Janssens K, Vincze L, Vekemans B page 155 (2000).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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“Evaluation of polycapillary lenses as focussing elements in sub-mm XRF analysis of artistic objects”. Vekemans B, Janssens K, Adams F, Andong L, He Y, Yiming Y page 278 (1998).
Keywords: H3 Book chapter; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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