Home << 1 2 3 >>
List View
 | 
Citations
 | 
Details
   web
Records
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 (up) 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
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 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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000351178300008 Publication Date 2015-02-20
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 1433-7851; 0570-0833 ISBN 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
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000364914100003 Publication Date 2015-08-31
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 0947-8396 ISBN 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
 
 
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 (up) 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 van der Snickt, G.; Legrand, S.; Caen, J.; Vanmeert, F.; Alfeld, M.; Janssens, K.
Title Chemical imaging of stained-glass windows by means of macro X-ray fluorescence (MA-XRF) scanning Type A1 Journal article
Year (up) 2016 Publication Microchemical journal Abbreviated Journal Microchem J
Volume 124 Issue Pages 615-622
Keywords A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000367755600074 Publication Date 2015-10-25
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 3.034 Times cited 22 Open Access
Notes ; The staff of the Museums of the City of Bruges, i.e. Director Till-Holger Borchert and Deputy Curator Kristel Van Audenaeren, are acknowledged for this pleasant collaboration and the authorization for the publication of the images in this article. This research was supported by the InBev-Baillet Latour fund. ; Approved Most recent IF: 3.034
Call Number UA @ admin @ c:irua:131100 Serial 5514
Permanent link to this record
 
 
Author van der Snickt, G.; Martins, A.; Delaney, J.; Janssens, K.; Zeibel, J.; Duffy, M.; McGlinchey, C.; Van Driel, B.; Dik, J.
Title Exploring a hidden painting below the surface of Rene Magritte's Le Portrait Type A1 Journal article
Year (up) 2016 Publication Applied spectroscopy Abbreviated Journal Appl Spectrosc
Volume 70 Issue 1 Pages 57-67
Keywords A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Abstract Two state-of-the-art methods for non-invasive visualization of subsurface (or overpainted) pictorial layers present in painted works of art are employed to study Le portrait, painted by Belgian artist Rene Magritte in 1935. X-ray radiography, a commonly used method for the nondestructive inspection of paintings, had revealed the presence of an underlying figurative composition, part of an earlier Magritte painting entitled La pose enchantee (1927) which originally depicted two full length nude female figures with exaggerated facial features. On the one hand, macroscopic X-ray fluorescence analysis (MA-XRF), a method capable of providing information on the distribution of the key chemical elements present in many artists' pigments, was employed. The ability of the X-rays to penetrate the upper layer of paint enabled the imaging of the facial features of the female figure and provided information on Magritte's palette for both surface and hidden composition. On the other hand, visible and near infrared hyperspectral imaging spectroscopies in transmission mode were also used, especially in the area of the table cloth in order to look through the upper representation and reveal the pictorial layer(s) below. MA-XRF provided elemental information on the pigment distributions in both the final painting and the prior whereas the transmission mode provided information related to preparatory sketches as well as revealing differences between the paints used in both compositions. These results illustrate very well the manner in which the two imaging methods complement each other, both in the sense of providing different types of information on the nature and presence of paint components/pigments and in the sense of being optimally suited to easily penetrate through different types of overpaint.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000368604500007 Publication Date 2016-01-27
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 0003-7028 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor 1.529 Times cited 13 Open Access
Notes ; GvdS and KJ acknowledge the support of the Fund Inbev-Baillet Latour. JKD acknowledges support from the Andrew Mellon Foundation and the National Science Foundation. BvD and JD acknowledge support from The Netherlands Organisation for Scientific Research (NWO). ; Approved Most recent IF: 1.529
Call Number UA @ admin @ c:irua:131544 Serial 5620
Permanent link to this record
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000373647500063 Publication Date 2016-01-29
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 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
 
 
Author Janssens, K.; Legrand, S.; van der Snickt, G.; Vanmeert, F.
Title Virtual archaeology of altered paintings : multiscale chemical imaging tools Type A1 Journal article
Year (up) 2016 Publication Elements Abbreviated Journal Elements
Volume 12 Issue 1 Pages 39-44
Keywords A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Abstract Understanding how painted works of art were constructed, layer-by-layer, requires a range of macroscopic and microscopic X-ray and infrared-based analytical methods. Deconstructing complex assemblies of paints horizontally across a picture and vertically through it provides insight into the detailed production process of the art work and on the painting techniques and styles of its maker. The unwanted chemical transformations that some paint pigments undergo are also detectable; these changes can alter the paint's optical properties. Understanding the chemistry behind such paint degradation gives conservators vital clues to counter these effects and is an invaluable asset in protecting these cultural artefacts for future generations.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000370987700007 Publication Date 2016-02-08
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 1811-5209 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor 4.038 Times cited 12 Open Access
Notes ; ; Approved Most recent IF: 4.038
Call Number UA @ admin @ c:irua:132301 Serial 5904
Permanent link to this record
 
 
Author Lachmann, T.; van der Snickt, G.; Haschke, M.; Mantouvalou, I.
Title Combined 1D, 2D and 3D micro-XRF techniques for the analysis of illuminated manuscripts Type A1 Journal article
Year (up) 2016 Publication Journal of analytical atomic spectrometry Abbreviated Journal
Volume 31 Issue 10 Pages 1989-1997
Keywords A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Abstract The combination of several micro-XRF analysis modes is presented for the investigation of an illuminated parchment manuscript. With a commercial instrument, conventional micro-XRF spot analysis (0D) and mapping (2D) are performed, yielding detailed lateral elemental information. Depth resolution becomes accessible by mounting an additional polycapillary lens in front of an SDD detector. Quantitative confocal depth profiles (1D) are presented as well as the full separation of the front and the backside decorations with the help of fast 3D mappings of specific areas. Only through the use of these multidimensional modes can elemental information be assigned both to lateral and depth positions, making the analysis of such heterogeneous samples feasible.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000385362200004 Publication Date 2016-08-25
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 Times cited Open Access
Notes Approved no
Call Number UA @ admin @ c:irua:144755 Serial 7679
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000386395100001 Publication Date 2016-09-07
Series Editor Series Title Abbreviated Series Title
Series Volume 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
 
 
Author van Loon, A.; Noble, P.; Krekeler, A.; van der Snickt, G.; Janssens, K.; Abe, Y.; Nakai, I.; Dik, J.
Title Artificial orpiment, a new pigment in Rembrandt's palette Type A1 Journal article
Year (up) 2017 Publication Heritage science Abbreviated Journal
Volume 5 Issue Pages 26
Keywords A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000404916400001 Publication Date 2017-06-02
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 2050-7445 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor Times cited 6 Open Access
Notes ; This research is part of the Science4Arts Program, funded by the Netherlands Organization for Scientific Research (NWO) (Grant No. SFA-11-12). GVdS is supported by the Baillet Latour Fund. The authors would like to thank Lisette Vos, Rijksmuseum Amsterdam, for assisting with the MA-XRF scanning; Arisa Izumi and Airi Hirayama, students of the Tokyo University of Science, and Frederik Vanmeert, University of Antwerp, for assisting with the pXRD and pRaman measurements. We are also grateful to Rob Erdmann, Rijksmuseum Amsterdam, who made the curtain viewer to facilitate comparison of the visible image with the elemental distribution maps of the painting. ; Approved Most recent IF: NA
Call Number UA @ admin @ c:irua:144864 Serial 5479
Permanent link to this record
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000410414000001 Publication Date 2017-08-14
Series Editor Series Title Abbreviated Series Title
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 ; 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
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000398576000019 Publication Date 2017-03-23
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
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
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000410413500001 Publication Date 2017-08-04
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
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 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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000399845700026 Publication Date 2017-02-04
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 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
 
 
Author Clerici, E.A.; De Meyer, S.; van der Snickt, G.; Janssens, K.
Title Synchroton X-ray powder diffraction study of lead white oxidation by sodium hypochloride Type P1 Proceeding
Year (up) 2017 Publication Abbreviated Journal
Volume Issue Pages 13-27
Keywords P1 Proceeding; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Abstract
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos Publication Date
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 978-80-87108-75-8 ISBN Additional Links UA library record; WoS full record
Impact Factor Times cited Open Access
Notes ; ; Approved Most recent IF: NA
Call Number UA @ admin @ c:irua:157219 Serial 5860
Permanent link to this record
 
 
Author Centeno, S.A.; Hale, C.; Caro, F.; Cesaratto, A.; Shibayama, N.; Delaney, J.; Dooley, K.; van der Snickt, G.; Janssens, K.; Stein, S.A.
Title Van Gogh's Irises and Roses : the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments Type A1 Journal article
Year (up) 2017 Publication Heritage science Abbreviated Journal
Volume 5 Issue Pages 18
Keywords A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Abstract Vincent van Gogh's still lifes Irises and Roses were investigated to shed light onto the degree to which the paintings had changed, both individually and in relation to each other since they were painted, particularly in regard to the fading of the red lakes. Non-invasive techniques, including macroscopic X-ray fluorescence mapping, reflectance imaging spectroscopy, and X-radiography, were combined with microanalytical techniques in a select number of samples. The in-depth microchemical analysis was necessary to overcome the complications that arise when evaluating by non-invasive methods alone the compositions of passages with complex layering and mixing of paints. The results obtained by these two approaches were complemented by color measurements performed on paint cross-sections and on protected edges, and with historical information provided by the artist's own descriptions, early reviews and reproductions, and the data was used to carry out digital color simulations that provided, to a certain extent, a visualization of how the paintings may have originally appeared.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000401365400001 Publication Date 2017-04-21
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 2050-7445 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor Times cited 21 Open Access
Notes ; ; Approved Most recent IF: NA
Call Number UA @ admin @ c:irua:143748 Serial 5903
Permanent link to this record
 
 
Author Harth, A.; van der Snickt, G.; Schalm, O.; Janssens, K.; Blanckaert, G.
Title The young Van Dyck's fingerprint : a technical approach to assess the authenticity of a disputed painting Type A1 Journal article
Year (up) 2017 Publication Heritage science Abbreviated Journal
Volume 5 Issue Pages 22-13
Keywords A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
Abstract The painting Saint Jerome, part of the collection of the Maagdenhuis Museum (Antwerp, Belgium), is attributed to the young Anthony van Dyck (1613-1621) with reservations. The painting displays remarkable compositional and iconographic similarities with two early Van Dyck works (1618-1620) now in Museum Boijmans van Beuningen (Rotterdam) and Nationalmuseum (Stockholm). Despite these similarities, previous art historical research did not result in a clear attribution to this master. In this study, the works authenticity as a young Van Dyck painting was assessed from a technical perspective by employing a twofold approach. First, technical information on Van Dycks materials and techniques, here identified as his fingerprint, were defined based on a literature review. Second, the materials and techniques of the questioned Saint Jerome painting were characterized by using complementary imaging techniques: infrared reflectography, X-ray radiography and macro X-ray fluorescence scanning. The insights from this non-invasive research were supplemented with analysis of a limited number of cross-sections by means of field emission scanning electron microscopy coupled with energy dispersive X-ray spectroscopy. The results demonstrated that the questioned paintings materials and techniques deviate from Van Dycks fingerprint, thus making the authorship of this master very unlikely.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000403971300001 Publication Date 2017-05-12
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 2050-7445 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor Times cited 1 Open Access
Notes ; The authors are grateful to the staff of the Maagdenhuis Museum Antwerp, especially to Daniel Christiaens and Rudi van Velthoven, for their cooperation and enthusiastic support. Prof. Em. Claudine A. Chavannes-Mazel and Ph. D. student Alice Taatgen (University of Amsterdam) are acknowledged for the IRR recordings. We also would like to acknowledge Dr. Christina Currie (KIK/IRPA) and Catherine Fondaire (KIK/IRPA) for the XRR, and Eva Grieten (EMAT, University of Antwerp) for the FE-SEM-EDX. Finally, the authors wish to thank Prof. Dr. Katlijne van der Stighelen (University of Leuven) and Prof. Dr. Maximilaan Martens (Ghent University) for their art historical insights and additional comments. This research was supported by the Baillet Latour fund and Research Foundation Flanders (FWO). ; Approved Most recent IF: NA
Call Number UA @ admin @ c:irua:143633 Serial 5923
Permanent link to this record
 
 
Author Vanmeert, F.; Hendriks, E.; van der Snickt, G.; Monico, L.; Dik, J.; Janssens, K.
Title Chemical Mapping by Macroscopic X-ray Powder Diffraction (MA-XRPD) of Van Gogh's Sunflowers : identification of areas with higher degradation risk Type A1 Journal article
Year (up) 2018 Publication Angewandte Chemie: international edition in English Abbreviated Journal Angew Chem Int Edit
Volume 57 Issue 25 Pages 7418-7422
Keywords A1 Journal article; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
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.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000434949200023 Publication Date 2018-03-02
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 1433-7851; 0570-0833 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor 11.994 Times cited 10 Open Access
Notes ; The authors acknowledge financial support from BELSPO (Brussels) S2-ART, the NWO (The Hague) Science4Arts “ReVisRembrandt” project, the GOA Project Solarpaint (University of Antwerp Research Council), and the Interreg Smart*Light project. Raman analyses were performed using the European MOLAB platform, which is financially supported by the Horizon 2020 Programme (IPERION CH Grant 654028). The authors thank the staff of the Van Gogh Museum for their collaboration. ; Approved Most recent IF: 11.994
Call Number UA @ admin @ c:irua:153185 Serial 5517
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000428103000027 Publication Date 2018-01-17
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 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
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000424388800050 Publication Date 2018-01-03
Series Editor Series Title Abbreviated Series Title
Series Volume 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 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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000441205600001 Publication Date 2018-08-02
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 2050-7445 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor Times cited 3 Open Access
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
 
 
Author Koldeweij, J.; Hoogstede, L.; Ilsink, M.; Janssens, K.; De Keyser, N.; Gotink, R.K.; Legrand, S.; Nauhaus, J.M.; van der Snickt, G.; Spronk, R.
Title The patron of Hieronymus Bosch's 'Last Judgment' triptych in Vienna Type A1 Journal article
Year (up) 2018 Publication The Burlington magazine Abbreviated Journal
Volume 160 Issue 1379 Pages 106-111
Keywords A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation)
Abstract A technical examination of the Last Judgment triptych by Hieronymus Bosch in the Paintings Gallery of the Academy of Fine Arts, Vienna, has revealed a painted escutcheon with the coat of arms of the Burgundian court official Hippolyte de Berthoz underneath the current surface of the right outer wing. This allows him to be firmly identified as the painting's patron.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000458246800007 Publication Date
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 0007-6287; 2044-9925 ISBN Additional Links UA library record; WoS full record
Impact Factor Times cited Open Access
Notes Approved no
Call Number UA @ admin @ c:irua:181267 Serial 8656
Permanent link to this record
 
 
Author Simoen, J.; De Meyer, S.; Vanmeert, F.; De Keyser, N.; Avranovich, E.; van der Snickt, G.; Van Loon, A.; Keune, K.; Janssens, K.
Title Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius Type A1 Journal article
Year (up) 2019 Publication Heritage science Abbreviated Journal
Volume 7 Issue 1 Pages 83
Keywords A1 Journal article; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000490592700001 Publication Date 2019-10-16
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 2050-7445 ISBN Additional Links UA library record; WoS full record; WoS citing articles
Impact Factor Times cited 2 Open Access
Notes ; The authors acknowledge financial support from the NWO (The Hague) Science4Arts 'ReVisRembrandt' project (AvL, JD), the GOA Project Solarpaint (University of Antwerp Research Council) (SdM) and the METOX project (Belgian Federal Science Policy) (FvM). Special thanks go to the support received from FWO, Brussels via projects G056619 N and G054719 N (GvdS, KJ) and from NWO, The Hague via project NICAS/3D2P (KK, NdK). Parts of the MA-XRPD scanner could be purchased thanks to InterReg Project Smart*Light. ; Approved Most recent IF: NA
Call Number UA @ admin @ c:irua:163693 Serial 5521
Permanent link to this record
 
 
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 (up) 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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000484938100001 Publication Date 2019-09-08
Series Editor Series Title Abbreviated Series Title
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 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 (up) 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 Klaassen, L.; van der Snickt, G.; Legrand, S.; Higgitt, C.; Spring, M.; Vanmeert, F.; Rosi, F.; Brunetti, B.G.; Postec, M.; Janssens, K.
Title Characterization and removal of a disfiguring oxalate crust on a large altarpiece by Hans Memling Type H1 Book chapter
Year (up) 2019 Publication Abbreviated Journal
Volume Issue Pages 263-282 T2 - Metal soaps in art / Casadio, F. [edi
Keywords H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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.
Address
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos Publication Date 2019-03-23
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN ISBN 978-3-319-90616-4 Additional Links UA library record
Impact Factor Times cited Open Access
Notes Approved no
Call Number UA @ admin @ c:irua:190778 Serial 7609
Permanent link to this record
 
 
Author Monico, L.; Hendriks, E.; Geldof, M.; Miliani, C.; Janssens, K.; Brunetti, B.G.; Cotte, M.; Vanmeert, F.; Chieli, A.; Van der Snickt, G.; Romani, A.; Melo, M.J.
Title Chemical alteration and colour changes in the Amsterdam sunflowers Type H1 Book chapter
Year (up) 2019 Publication Abbreviated Journal
Volume Issue Pages 125-158 T2 - Van Gogh’s Sunflowers illuminated – a
Keywords H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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.
Address
Corporate Author Thesis
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:190779 Serial 7640
Permanent link to this record
 
 
Author Hendriks, E.; Geldof, M.; van den Berg, K.J.; 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.
Title Conservation of the Amsterdam sunflowers : from past to future Type H1 Book chapter
Year (up) 2019 Publication Abbreviated Journal
Volume Issue Pages 175-205 T2 - Van Gogh’s Sunflowers illuminated – a
Keywords H1 Book chapter; Art; AXES (Antwerp X-ray Analysis, Electrochemistry and Speciation); Antwerp Cultural Heritage Sciences (ARCHES)
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.
Address
Corporate Author Thesis
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:190780 Serial 7727
Permanent link to this record
 
 
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 (up) 2019 Publication Journal of cultural heritage Abbreviated Journal
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
Corporate Author Thesis
Publisher Place of Publication Editor
Language Wos 000491173800017 Publication Date 2019-06-26
Series Editor Series Title Abbreviated Series Title
Series Volume Series Issue Edition
ISSN 1296-2074 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:167564 Serial 8191
Permanent link to this record