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Programme  Titles  Presenters 
Poster pitch session A (please click on the title for the program)
Day 1 - Wednesday 18 September 2013, 17.35 - 18.50

PP1 Identification of organic additives in Roman wall painting, initial results.
Stephane Treilhou
Paris I-La Sorbonne, France
PP2 New insights in the creation process of Hans Memling’s ‘Moreel triptych’ by means of in situ Macro-XRF scanning
Geert Van der Snickt*1,3, Matthias Alfeld1, Till-Holger Borchert2, Joris Dik3, Koen Janssens1
1University of Antwerp, Belgium, 2Groeningemuseum, Belgium, 3Delft University of Technology, The Netherlands
PP3 Colourless pulverised glass in the paint-material of Hans Holbein the Elder (1460/70-1524)
Stephanie Dietz*1, Christoph Krekel1, Andrea Obermeier0,2, Heike Stege0,2
1State Academy of Fine Arts, Germany, 2Doerner Institute, Germany
PP4 The thin end of the wedge: supporting evidence used to substantiate provenance. The technical analysis of two Spanish fifteenth century paintings.
Marya Albrecht*1,2, Melissa Daugherty1,2, Saskia Oudheusden1, Kate Seymour2, Michael Rief3, Ray Marchant4, Erich Uffelman5
1University of Amsterdam, The Netherlands, 2Stichting Restauratie Atelier Limburg, The Netherlands, 3, Suermondt-Ludwig-Museum, Germany, 4London studio of The Hamilton Kerr Institute/Simon Bobak Conservation, United Kingdom, UK, 5Washington and Lee University, USA
PP5 From the Mediterranean to the Atlantic: Particularities into the joints of panel paintings in the Iberian Peninsula
Ana Calvo*, Consuelo Dalmau, Tamara Alba
Universidad Complutense de Madrid, Spain
PP6 The availability and relevance of material-technical references in archival sources for the study of painting techniques of mediaeval and early modern wall paintings in Low Countries.
Karin Keutgens1,2
1Ghent University, Belgium, 2Viering bvba, Belgium
PP7 'The Last Supper' of Francisco de Campos - painting techniques and materials
Rita Freire*1,2, Sara Valadas2,3, Cristina Dias2,3, José Mirão2,4, António Candeias2,5, José Alberto Machado1
1CHAIA- Centro de História de Arte e Investigação Artística, Portugal, 2Laboratório HERCULES, Portugal, 3Centro de Química de Évora, Portugal, 4Centro de Geofísica de Évora, Portugal, 5Laboratório José de Figueiredo, Direcção Geral do Património Cultural, Portugal
PP8 Matérialité des peintures de chevalet sur albâtre: perception et redéfinition d'un support. Materiality of paintings on alabaster: perception and redefinition of a support.
Marguerite Parot-Pettinotti
Université PARIS 1 Panthéon Sorbonne - ED 441 HICSA, France
PP9 Over the rainbow. Rubens upgrading a workshop copy.
Nico Van Hout
Koninklijk Museum voor Schone Kunsten Antwerpen, Belgium
PP10 Flour and starch in preparatory layers for oil paintings: evidence in written sources (16th-19th century) and reconstructions of historical recipes.
Maartje Stols-Witlox
University of Amsterdam, The Netherlands
PP11 The hand of a master: art-technical research into the painting technique of Jacob Adriensz Backer (1608/9-1651)
Julia van den Burg
University of Amsterdam, The Netherlands
PP12 Standard sizes and panel supports in the low segment of the Dutch Art market in the Golden Age
Angela Jager
Universiteit van Amsterdam, The Netherlands
PP13 The chineese room at Frederiksberg Castle
Anne Simonsen
Anne Simonson, Norway
PP14 Jean-Etienne Liotard's studio practice and pastel technique: Technological examination and analysis, confrontation with 18th century sources
Cécile Gombaud*, Leila Sauvage, Sara Creange
Rijksmuseum, The Netherlands
PP15 Gainsborough's pigments from 'Charterhouse' to 'Blue Boy'
Rica Jones
Tate Gallery, UK
PP16 Anamnesis of a painting: The benefits of collaboration in Edelfelt's Studio Practice Project on quests of attribution.
Tuulikki Kilpinen*1, Marina Catani2, Seppo Hornytzkyj3
1Konservointi Tuulikki Kilpinen OY, Finland, 2Åbo Akademi, Finland, 3Finnish National Gallery, Finland
PP17 John Sell Cotman (1782-1842) and John Crome (1768-1821): material sensibilities
Rose Miller
Hamilton Kerr Institute, UK
PP18 Canvas in Portuguese easel painting since the end of 16th century to 19th century
Rita Maltieira*1,2, Ana Calvo3,4, Joana Cunha4
1Portuguese Catholic University, Portugal, 2CITAR - Art Research and Technology Centre, Portugal, 3Universidad Complutense de Madrid, Spain, 4CITAR - Art Research and Technology Centre, Portugal, 5Universidade do Minho, Portugal
PP19 A study of Persian lacquered painting from the Faculty of Archaeology museum, Cairo University
Mona Abdel-Ghani*, Rehab Elsiedy
Cairo University, Egypt
PP20 A deeper insight into the technique of painted anaplast - one popular way of making copies in the 19th century
Janka Hradilova*1, Petr Bezdicka2,1, Igor Fogas3, David Hradil1,2
1Academy of Fine Arts in Prague, Laboratory ALMA, Czech Republic, 2Institute of Inorganic Chemistry of the AS CR, v.v.i., Laboratory ALMA, Czech Republic, 3Moravian Gallery in Brno, Czech Republic
PP21 Mapping the distribution of lead soap aggregates at the surface of a nineteenth century portrait in oil.
Joana Devesa*1, Cristina Montagner1,2, Leslie Carlyle1,2
1Universidade Nova de Lisboa, Faculdade de Ciencias e Tecnologia, Departamento de Conservacao e Restauro, Portugal, 2REQUIMTE, Universidade Nova de Lisboa, Portugal
PP22 Conservation and Technique of The Marriage of Stroingbow and Aoife by Daniel Maclise.
Muirne Lydon*, Maria Canavan, Simone Mancini
National Gallery of Ireland, Ireland
PP23 Painting techniques of Kazimir Malevich: 1900-1910
Maria Kokkori
The Art Institute of Chicago, USA
PP24 Studies of the painting techniques of Heinrich Campendonk - Possibilities and limitations in the examination of paintings with non-invasive scientific methods within the context of forgeries
Jenny Annika Nieberle
Cologne Institute of Conservation Sciences (Cologne University of Applied Sciences), Germany
PP25 Techniques and materials of paintings on coffered ceilings in the North of Portugal
Rita Rodrigues
UCP, Portugal