Geert Van der Snickt

2018 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

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

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Frederik Vanmeert

, Ella Hendriks, Geert Van der Snickt

, Letizia Monico

, Joris Dik, Koen Janssens

Back Cover: Chemical Mapping by Macroscopic X-ray Powder Diffraction (MA-XRPD) of Van Gogh's Sunflowers : Identification of Areas with Higher Degradation Risk (Angew. Chem. Int. Ed. 25/2018)

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Geert Van der Snickt

, Stijn Legrand, Ina Slama, Eva Van Zuien, Gerlinde Gruber, Katlijne Van der Stighelen, Lizet Klaassen, Elke Oberthaler, Koen Janssens

In situ macro X-ray fluorescence (MA-XRF) scanning as a non-invasive tool to probe for subsurface modifications in paintings by P.P. Rubens

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This paper was not found in any repository; the policy of its publisher is unknown or unclear.

J. Koldeweij, L. Hoogstede, M. Ilsink, K. Janssens, N. De Keyser, R. K. Gotink, S. Legrand, J. M. Nauhaus, G. Van Der Snickt

, R. Spronk

The patron of Hieronymus Bosch's 'Last Judgment' triptych in Vienna

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Jeroen Peeters, Gunther Steenackers, Stefano Sfarra, Stijn Legrand, Clemente Ibarra-Castanedo, Koen Janssens

, Geert Van der Snickt

IR Reflectography and Active Thermography on Artworks: The Added Value of the 1.5–3 µm Band

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2017 Nouchka De Keyser

, Geert Van der Snickt

, Annelies Van Loon, Stijn Legrand, Arie Wallert, Koen Janssens

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

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Alice Tavares da Silva

, Stijn Legrand, Geert Van der Snickt

, Rupert Featherstone, Koen Janssens, Giorgia Bottinelli

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

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Annelies van Loon

, Petria Noble, Anna Krekeler, Geert Van der Snickt

, Koen Janssens, Yoshinari Abe, Izumi Nakai, Joris Dik

Artificial orpiment, a new pigment in Rembrandt’s palette

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Astrid Harth

, Geert Van der Snickt

, Olivier Schalm, Koen Janssens, Griet Blanckaert

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

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Silvia A. Centeno

, Charlotte Hale, Federico Carò, Anna Cesaratto, Nobuko Shibayama, John Delaney, Kathryn Dooley, Geert van der Snickt

, Koen Janssens, Susan Alyson Stein

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

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Geert Van der Snickt

, Hélène Dubois, Jana Sanyova, Stijn Legrand, Alexia Coudray, Cécile Glaude, Marie Postec, Piet Van Espen

, Koen Janssens

Large-Area Elemental Imaging Reveals Van Eyck's Original Paint Layers on the Ghent Altarpiece (1432), Rescoping Its Conservation Treatment

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Matthias Alfeld, Mirwaes Wahabzada, Christian Bauckhage, Kristian Kersting, Geert van der Snickt

, Petria Noble, Koen Janssens, Gerd Wellenreuther, Gerald Falkenberg

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

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Ermanno Avranovich Clerici, Steven De Meyer, Geert Van der Snickt

, Koen Janssens

Synchrotron X-Ray Powder Diffraction Study of Lead White Oxidation by Sodium Hypochlorite

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2016 Koen Janssens

, Stijn Legrand, Geert Van der Snickt

, Frederik Vanmeert

Virtual Archaeology of Altered Paintings: Multiscale Chemical Imaging Tools

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K. Janssens

, G. Van Der Snickt

, M. Alfeld, P. Noble, A. van Loon, J. Delaney, D. Conover, J. Zeibel, J. Dik

Rembrandt's ‘Saul and David’ (c. 1652): Use of multiple types of smalt evidenced by means of non-destructive imaging

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