The young Van Dyck’s fingerprint: a technical approach to assess the authenticity of a disputed painting

by Astrid Harth, Geert Van der Snickt, Olivier Schalm, Koen Janssens, Griet Blanckaert
Published 2017-06-01

Cluster Analysis of IR Thermography Data for Differentiating Glass Types in Historical Leaded-Glass Windows

by Michaël Hillen, Stijn Legrand, Yarince Dirkx, Koen Janssens, Geert Van der Snickt, Joost Caen, Gunther Steenackers
Published 2020-06-01

MA-XRF imaging on René Magritte’s La condition humaine: insights into the artist’s palette and technique and the discovery of a third quarter of La pose enchantée

by Alice Tavares da Silva, Stijn Legrand, Geert Van der Snickt, Rupert Featherstone, Koen Janssens, Giorgia Bottinelli
Published 2017-08-01

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

by Nouchka De Keyser, Geert Van der Snickt, Annelies Van Loon, Stijn Legrand, Arie Wallert, Koen Janssens
Published 2017-09-01

Artificial orpiment, a new pigment in Rembrandt’s palette

by Annelies van Loon, Petria Noble, Anna Krekeler, Geert Van der Snickt, Koen Janssens, Yoshinari Abe, Izumi Nakai, Joris Dik
Published 2017-06-01

Imaging secondary reaction products at the surface of Vermeer’s Girl with the Pearl Earring by means of macroscopic X-ray powder diffraction scanning

by Steven De Meyer, Frederik Vanmeert, Rani Vertongen, Annelies van Loon, Victor Gonzalez, Geert van der Snickt, Abbie Vandivere, Koen Janssens
Published 2019-09-01

Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius

by Jonas Simoen, Steven De Meyer, Frederik Vanmeert, Nouchka de Keyser, Ermanno Avranovich, Geert Van der Snickt, Annelies Van Loon, Katrien Keune, Koen Janssens
Published 2019-10-01

Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments

by Silvia A. Centeno, Charlotte Hale, Federico Carò, Anna Cesaratto, Nobuko Shibayama, John Delaney, Kathryn Dooley, Geert van der Snickt, Koen Janssens, Susan Alyson Stein
Published 2017-05-01

Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis

by Kathryn A. Dooley, E. Melanie Gifford, Annelies van Loon, Petria Noble, Jason G. Zeibel, Damon M. Conover, Matthias Alfeld, Geert Van der Snickt, Stijn Legrand, Koen Janssens, Joris Dik, John K. Delaney
Published 2018-08-01