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Poster pitch session B (please click on the title for the program)
Day 2 - Thursday 19 September 2013, 17.35 - 18.50

PP26 A fresco or a secco technique in the Bardi and Peruzzi Chapels (Santa Croce, Florence, Italy) by Giotto da Bondone: study of the nature and distribution of organic materials
Alessia Andreotti1, Ilaria Bonaduce*1, Maria Perla Colombini1, Marine Cotte2, Alessia Daveri3, Cecilia Frosinini4, Anna Lluveras-Tenorio1, Constanza Miliani5, Aldo Romani6
1Dipartimento di Chimica e Chimica Industriale, University of Pisa, Italy, 2European Synchrotron Radiation Facility, France, 3Associazione laboratorio di Diagnostica per i Beni Culturali, Italy, 4Opificio delle Pietre Dure, Italy, 5Istituto CNR-ISTM (Istituto di Scienze e Tecnologie Molecolari), c/o Dipartimento di Chimica, Universitŕ degli Studi di Perugia, Italy, 6Centro di Eccellenza SMAArt (Scientific Methodologies applied to Archaeology and Art), c/o Dipartimento di Chimica, Universitŕ degli Studi di Perugia,, Italy
PP27 Measuring standardization of panel sizes of fifteenth century Netherlandish paintings
Sytske Weidema
Netherlands Institute for Art History, The Netherlands
PP28 New insights into the work of Jacob Cornelisz van Oostsanen (1470-1533)
Matthias Ubl1, Daantje Meuwissen*1
1Rijksmuseum, The Netherlands, 2Radboud University, The Netherlands
PP29 'The Resurrection of Christ'/ Garofalo`s Altarpiece: An unaltered wooden panel under restoration and research
Ingrid Hopfner*, Sabine Stanek, Elke Oberthaler, Martina Grießer
Kunsthistorisches Museum Wien, Austria
PP30 Analytical and technical study of 16th Century Flemish-Portuguese paintings attributed to Frei Carlos workshop
Sara Valadas*1,2, José Mirăo1,3, Cristina Barrocas Dias1,2, Rita Freire1,4, António Candeias1,5
1HERCULES Laboratory, Évora University, Portugal, 2Evora Chemistry Centre and Chemistry Department, Evora University, Portugal, 3Evora Geophysics Centre and Geosciences Department, Évora University, Portugal, 4CHAIA, Évora University, Portugal, 5Jose de Figueiredo Lab., General Directorate for Cultural Heritage, Portugal
PP31 A Vernacular Herbal Manuscript (c. 1598): materials and techniques
Raffaella Bruzzone*1, Paola Caiffi2, Maurizio Aceto3, Angelo Agostino4, Gaia Fenoglio4
1LASA, DAFIST, University of Genoa, Italy, 2DIRAS, University of Genoa, Italy, 3CenISCo, Universitŕ degli Studi del Piemonte Orientale, Italy, 4NIS, Universitŕ degli Studi di Torino, Italy
PP32 In situ Macro-XRF scanning as a tool to discriminate Caravaggio’s autograph paintings from copies: the case of John the Baptist at the Galleria Doria Pamphilj
Geert Van der Snickt*1, Marco Cardinali2, Matthias Alfeld1, Koen Janssens1, Joris Dik3, Beatrice De Ruggieri2, Matteo Positano2
1University of Antwerp, Belgium, 2Emmebi Diagnostica Artistica s.r.l., Italy, 3Delft University of Technology, The Netherlands
PP33 Discerning a hidden inscription on a portrait by Anthony van Dyck using reflectance transformation imaging
Matthew Cushman*, Philip Klausmeyer
Worcester Art Museum, USA
PP34 A Master and his Pupil: the painting techniques of Daniël Seghers and Andries Bosman
Anne Haack Christensen1, Erma Hermens*2, Hannah Tempest1
1Centre for Art Technological Studies and Conservation (CATS), Denmark, 2University of Glasgow, UK
PP35 "Small is beautiful" Lead white in fine particle size.
Marya Albrecht*, Maartje Stols-Witlox
University of Amsterdam, The Netherlands
PP36 North Netherlandish 17th century panel makers' individual house marks
Jřrgen Wadum
CATS, Denmark
PP37 Rococo in The Mauritshuis: Pellegrini's work in The Netherlands
Carol Pottasch*1, Julia van den Burg1,2
1Royal Picture Gallery The Mauritshuis, The Netherlands, 2University of Amsterdam, The Netherlands
PP38 Remarkable white pigments on Liotards pastel paintings
Arie Wallert*, Joana Vaz Padroso
Rijksmuseum, The Netherlands
PP39 Restoration and study of 'Portraits of artists' by Louis Boilly (1761-1845): lighting of Boilly's creative process.
Claire Betelu1
1palais des beaux arts, France, 2CRPBC-UFR03-ED 441 HiCSA-Université Paris 1 Panthéon Sorbonne, France
PP40 Portrait art meets botanical illustration – technical aspects of the unique flower watercolor paintings by Moritz M. Daffinger (1790-1849)
Wilfried Vetter*, Cornelia Reiter, Manfred Schreiner
Academy of Fine Arts Vienna, Austria
PP41 Farmer with oxcart in setting sun: visualization and interpretation of a ‘lost' work by Vincent van Gogh
Annemiek Rens*1, Matthias Alfeld2, Koen Janssens2, Geert van der Snickt2, Joris Dik3, Luuk Struick van der Loeff4, Margje Leeuwestein4, Karen Appel5, Manuela Borchert5, Don Johnson6, Richard Johnson7
1RKD (Netherlands Institute for Art History), The Netherlands, 2University of Antwerp, Belgium, 3Delft University of Technology, The Netherlands, 4Kröller-Müller Museum, The Netherlands, 5Hamburger Synchrotron Strahlungslabor at the Deutsches Elektronen Synchrotron, Germany, 6Rice University, USA, 7Cornell University, USA
PP42 Study of a Double Painted meta-Byzantine Icon of St. Panteleimon
Dimitra Patsiaoura1, Pavlos Beinas2, Anastasia Rousaki*1, Eleni Pavlidou3, Triantafillia Zorba1, Konstantinos Paraskevopoulos1
1FTIR and Thermal Analysis Laboratory, Solid State Physics Section, Physics Department, Aristotle University of Thessaloniki, GR-54214, Greece, 2Painting Conservator, “Esaeitexnon” Artwork conservation Laboratory, GR-60100, Greece, 3Electron Microscopy Laboratory, Solid State Physics Section, Physics Department, Aristotle University of Thessaloniki, GR-54214, Greece
PP43 More than photographic truth. Adolf Senff's (1785-1863) oil studies of flowers: painting technique, conservation treatment, and presentation
Albrecht Pohlmann*1, Linda Haselbach2
1Stiftung Moritzburg Halle (Saale) - Kunstmuseum des Landes Sachsen-Anhalt, Germany, 2Fachhochschule Erfurt, Germany
PP44 Some examples of paper dyeing in Ottoman period and their effects on paper
Pınar Çakar1
1Ministry of Culture and Tourism, Suleymaniye Manuscript Library, research and development Center, Turkey, 2Yildiz Technical University, department of Chemical Engineering, Turkey
PP45 Paints, brands and competition. A look at the history of colour making in the late nineteenth century
Kathrin Kinseher
Akademie der Bildenden Künste München, Technische Universität München, Germany
PP46 The Construction of Destruction. Technical Examination of an Unfinished Painting by Theodore Rousseau
Rene Boitelle*1, Alan Phenix2
1Van Gogh Museum, The Netherlands, 2Getty Conservation Institute, USA
PP47 The material aspects of paintings in the early 20th Century: a study of the materials and techniques of Vanessa Bell
Aalia Kamal
Hamilton Kerr Institute, University of Cambridge, UK
PP48 A technical study of 'Rebecca and Eliezer at the Well' after Nicolas Poussin
Adele Wright
Hamilton Kerr Institute, UK