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Title Index
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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, Università degli Studi di Perugia, Italy, 6Centro di Eccellenza SMAArt (Scientific Methodologies applied to Archaeology and Art), c/o Dipartimento di Chimica, Università degli Studi di Perugia,, Italy
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
A new light on late Rembrandt: the application of new diagnostic techniques
Petria Noble*1,4, Annelies Van Loon1,4, Anna Krekeler2, Jonathan Bikker2, Geert van der Snickt3, Joris Dik4
1Royal Picture Gallery Mauritshuis, The Netherlands, 2Rijksmuseum, The Netherlands, 3University of Antwerp, Belgium, 4Delft University of Technology, The Netherlands
Day 2 - Thursday 19 September 2013:  A new light on late Rembrandt: the application of new diagnostic techniques  -  14.00 - 14.25
A study of Cuyp's materials and techniques and their correlation with the artist's stylistic evolution  
Libby Sheldon*1, Gabriella Macaro1, Marika Spring2, Charles Ford1
1University College London, UK, 2National Gallery London, UK
Day 2 - Thursday 19 September 2013:  A study of Cuyp's materials and techniques and their correlation with the artist's stylistic evolution  -  11.40 - 12.05
A study of Persian lacquered painting from the Faculty of Archaeology museum, Cairo University
Mona Abdel-Ghani*, Rehab Elsiedy
Cairo University, Egypt
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
A technical study of 'Rebecca and Eliezer at the Well' after Nicolas Poussin
Adele Wright
Hamilton Kerr Institute, UK
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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, Università degli Studi del Piemonte Orientale, Italy, 4NIS, Università degli Studi di Torino, Italy
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
All that glitters is not gold. Painted gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings
Esther van Duijn
University of Amsterdam, The Netherlands
Day 1 - Wednesday 18 September 2013:  All that glitters is not gold. Painted gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings  -  14.25 - 14.50
Analytical and technical study of 16th Century Flemish-Portuguese paintings attributed to Frei Carlos workshop
Sara Valadas*1,2, José Mirão1,3, 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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Binding Mediums used in Persian painting based on the old technical treatises
Amir Hossein Karimy1
1Art University of Isfahan, Conservation Faculty, Iran, 2Art University of Tehran, Iran
Day 1 - Wednesday 18 September 2013:  Binding Mediums used in Persian painting based on the old technical treatises  -  16.15 - 16.40
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Cennino inside out: new light on verde azurro, giesso grosso and others based on close reading
Lara Broecke1,2
1Hamilton Kerr Institute, UK, 2Samuel H. Kress Foundation, USA
Day 1 - Wednesday 18 September 2013:  Cennino inside out: new light on verde azurro, giesso grosso and others based on close reading  -  11.55 - 12.20
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Conservation and Technique of The Marriage of Stroingbow and Aoife by Daniel Maclise.
Muirne Lydon*, Maria Canavan, Simone Mancini
National Gallery of Ireland, Ireland
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Defining the origins and characteristics of Anglo-Netherlandish and native workshop practices in late Elizabethan/ early Jacobean England: comparative technical study of Marcus Gheeraerts the Younger (1561/2 – 1636), John de Critz the Elder (d.1642), Robert Peake the Elder (c.1551–1619 and William Larkin (c.1580–1619)
Caroline Rae*1,2, Aviva Burnstock1
1Courtauld Institute of Art, UK, 2National Portrait Gallery, UK
Day 2 - Thursday 19 September 2013:  Defining the origins and characteristics of Anglo-Netherlandish and native workshop practices in late Elizabethan/ early Jacobean England: comparative technical study of Marcus Gheeraerts the Younger (1561/2 – 1636), John de Critz the Elder (d.1642), Robert Peake the Elder (c.1551–1619 and William Larkin (c.1580–1619)  -  10.20 - 10.45
'Der Matrose Fritz Müller aus Pieschen': a Dada painting by Otto Dix
Fabio Aramini1, Francesca Capanna1, Laura D'Agostino1, Maria Rita Giuliani1, Paola Iazurlo*1, Giancarlo Sidoti1, Carlo Serino2
1Istituto Superiore per la Conservazione e il Restauro, Italy, 2Equilibrarte, Italy
Day 3 - 20 September 2013:  The Matrose Fritz Müller aus Pieschen: a Dada painting by Otto Dix  -  16.40 - 17.05
Discerning a hidden inscription on a portrait by Anthony van Dyck using reflectance transformation imaging
Matthew Cushman*, Philip Klausmeyer
Worcester Art Museum, USA
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Discoveries during the technical investigation of a tripartite ceiling painting by Gerard de Lairesse. A political statement before and during the ‘Disaster Year’ 1672
Tatjana van Run*1, Margriet van Eikema Hommes1,3, Joana Vaz Pedroso1, Katrien Keune5,1, Milko den Leeuw2, Ingeborg de Jongh2, Arie Wallert4,5
1Delft University of Technology, The Netherlands, 2ARRS, The Netherlands, 3Cultural Heritage Agency of the Netherlands, The Netherlands, 4Rijksmuseum Amsterdam, The Netherlands, 5University of Amsterdam, The Netherlands
Day 2 - Thursday 19 September 2013:  Discoveries during the technical investigation of a tripartite ceiling painting by Gerard de Lairesse. A political statement before and during the ‘Disaster Year’ 1672  -  15.50 - 16.15
Drying crackle in early and mid-eighteenth-century British paintings: an explanation of the phenomenon of microcissing.
Rica Jones*, Joyce H. Townsend
Tate Gallery, UK
Day 3 - 20 September 2013:  Drying crackle in early and mid-eighteenth-century British paintings: an explanation of the phenomenon of microcissing.  -  9.30 - 9.55
Edouard Manet's ‘View of the 1867 Exposition Universelle'. Compositional process and a question of finish.
Thierry Ford
Nasjonal Museet, Norway
Day 3 - 20 September 2013:  Edouard Manet's ‘View of the 1867 Exposition Universelle'. Compositional process, a question of finish, a different hand?  -  11.40 - 12.05
Examination of paintings by Lucas Cranach the Elder and his workshop from the collection of the National Gallery in Prague
Kristina Malkova*1, Olga Kotkova2, Radka Sefcu2, Stepanka Kuckova3, Vaclav Pitthard4
1Academy of Fine Arts in Prague, Czech Republic, 2National Gallery in Prague, Czech Republic, 3Institute of Chemical Technology, Czech Republic, 4Kunsthistorisches Museum, Austria
Day 2 - Thursday 19 September 2013:  Examination of Paintings by Lucas Cranach the Elder and his workshop from the Collection of the National Gallery in Prague  -  9.55 - 10.20
Excise stamps on artists' canvases:  lost threads and loose ends
Sally Woodcock
Hamilton Kerr Institute, University of Cambridge, UK
Day 2 - Thursday 19 September 2013:  Excise stamps on artists' canvases: lost threads and loose ends  -  16.40 - 17.05
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
From the streets to the canvas: On the use of bituminous asphalt in early Soviet constructivist paintings
Maria Kokkori*1, Jaap J. Boon2, Aviva Burnstock3, Chris McGlinchey4, Petra Mandt5
1The Art Institute of Chicago, USA, 2Jaap Enterprises, The Netherlands, 3The Courtauld Institute of Art, UK, 4Museum of Modern Art, USA, 5Museum Ludwig, Germany
Day 3 - 20 September 2013:  From the streets to the canvas: On the use of bituminous asphalt in early Soviet constructivist paintings  -  17.05 - 17.30
Gainsborough's pigments from 'Charterhouse' to 'Blue Boy'
Rica Jones
Tate Gallery, UK
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
'How to became a painter in three hours': artists’ training in nineteenth century Portugal 
Ângela Ferraz*1, Leslie Carlyle1,2, Rita Macedo1
1Departamento de Conservação e Restauro, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, Portugal, 2REQUINTE-CQFB, FCT-UNL, Portugal
Day 3 - 20 September 2013:  “How to became a painter in three hours”: artists’ training in nineteenth century Portugal  -  14.00 - 14.25
Identification of organic additives in Roman wall painting, initial results.
Stephane Treilhou
Paris I-La Sorbonne, France
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Insights into the materials of cold-painted Venetian / façon de Venise glass objects in The Metropolitan Museum of Art
Adriana Rizzo
The Metropolitan Museum of Art, USA
Day 1 - Wednesday 18 September 2013:  Insights into the materials of cold-painted Venetian / façon de Venise glass objects in The Metropolitan Museum of Art  -  15.50 - 16.15
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Jheronimus Bosch in Venice. A BRCP (Bosch Research and Conservation Project) case study
Jos Koldeweij1, Matthijs Ilsink1,2, Ron Spronk3,1, Rik Klein Gotink4, Robert Erdmann5, Luuk Hoogstede*6
1Radboud University, The Netherlands, 2Noordbrabants Museum, The Netherlands, 3Queen's University, Canada, 4Rik Klein Gotink Fotografie, The Netherlands, 5University of Arizona, USA, 6SRAL (Stichting Restauratie Atelier Limburg), The Netherlands
Day 1 - Wednesday 18 September 2013:  Jheronimus Bosch in Venice A BRCP (Bosch Research and Conservation Project) case study  -  14.50 - 15.15
John Sell Cotman (1782-1842) and John Crome (1768-1821): material sensibilities
Rose Miller
Hamilton Kerr Institute, UK
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
‘ Le noir ne seiche jamais sans addition….’ , methods to ensure the drying of black paints in the 17th century Oranjezaal ensemble
Lidwien Speleers*1, Ester Ferreira1, Jaap Boon2
1SIK-ISEA, Switzerland, 2JAAP Enterprise for MOLART Advice, The Netherlands
Day 2 - Thursday 19 September 2013:  ‘Le noir ne seiche jamais sans addition…’ , methods to ensure the drying of black paints in the 17th century Oranjezaal ensemble  -  12.05 - 12.30
Looking below the surface of Picasso’s 'The Old Guitarist'
Allison Langley*1, Kim Muir1, Aniko Bezur2
1Art Institute of Chicago, USA, 2Yale University, USA
Day 3 - 20 September 2013:  Looking below the surface of Picasso’s The Old Guitarist  -  15.50 - 16.15
Lucien Pissarro and the diffusion of a matte aesthetic into London, 1880-ca. 1920
Alejandra Petersen Castiello
Yale Center for British Art, USA
Day 3 - 20 September 2013:  Lucien Pissarro and the diffusion of a matte aesthetic into London, 1880-ca. 1920  -  14.25 - 14.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Materials and technological characteristics of paintings by Johann Georg de Hamilton (1672-1737) - a famous portraitist of horses
David Hradil*1,2, Janka Hradilova1, Olga Trmalova4, Zdenka Cermakova3,2, Ludmila Ourodova5
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, 3Faculty of Science, Charles University in Prague, Czech Republic, 4freelance restorer, Czech Republic, 5National Heritage Institute, Regional Office in Ceske Budejovice, Czech Republic
Day 2 - Thursday 19 September 2013:  Materials and technological characteristics of paintings by Johann Georg de Hamilton (1672-1737) - a famous portraitist of horses  -  16.15 - 16.40
MAXRF investigation of Ritratto di Michelangelo reveals a painting by Andrea del Sarto, strengthening its attribution to Sebastiano del Piombo
Koen Janssens*1, Matthias Alfeld1, Geert Vandersnickt1, Alessandra Botteon1, Laura Cartechini2, Costanza Miliani2, Bruno Brunetti2, Costanza Barbieri4
1University of Antwerp, Belgium, 2University of Perugia, Italy, 3Private restorer, Italy, 4Accademia di Belle Arti di Roma’, -
Day 2 - Thursday 19 September 2013:  MAXRF investigation of Ritratto di Michelangelo reveals a painting by Andrea del Sarto, strengthening its attribution to Sebastiano del Piombo  -  9.30 - 9.55
Measuring standardization of panel sizes of fifteenth century Netherlandish paintings
Sytske Weidema
Netherlands Institute for Art History, The Netherlands
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Mens agitat Molem - Poussin's use of painting materials in the context of Zaccolini's Perspettiva del Colore and Félibien's Conférences of 1667.
Helen Glanville
Hamilton Kerr Institute, UK
Day 2 - Thursday 19 September 2013:  Mens agitat Molem - Poussin's use of painting materials in the context of Zaccolini's Perspettiva del Colore and Félibien's Conférences of 1667.  -  14.25 - 14.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
New insights into the work of Jacob Cornelisz van Oostsanen (1470-1533)
Matthias Ubl1, Daantje Meuwissen*1
1Rijksmuseum, The Netherlands, 2Radboud University, The Netherlands
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
New observations on the genesis of Van Eyck's 'Saint Barbara' in light of results from the current research carried out on the Ghent Altarpiece
Marie Postec*1,2, Jana Sanyova1
1IRPA (Royal Institute for Cultural Heritage ), Belgium, 2KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen), Belgium
Day 1 - Wednesday 18 September 2013:  New observations on the genesis of Van Eyck's Saint Barbara in light of results from the current research carried out on the Ghent Altarpiece  -  11.30 - 11.55
North Netherlandish 17th century panel makers' individual house marks
Jørgen Wadum
CATS, Denmark
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Over the rainbow. Rubens upgrading a workshop copy.
Nico Van Hout
Koninklijk Museum voor Schone Kunsten Antwerpen, Belgium
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
Painting by the rules of art; the Groot Schilderboeck compared to the painting technique of Jan Lievens and Gerard de Lairesse
Peter Eurlings1, Indra Kneepkens1,2, Aschwin Merks1, Elsemieke van Rietschoten*1, Monique Staal1, Arie Wallert1,2
1Universiteit van Amsterdam, The Netherlands, 2Rijksmuseum, The Netherlands
Day 2 - Thursday 19 September 2013:  Painting by the rules of art; the Groot Schilderboeck compared to the painting technique of Jan Lievens and Gerard de Lairesse  -  14.50 - 15.15
Painting techniques and materials of the 14th century murals that represent the so called 'hibrid' gothic style in Slovenia
Anabelle Kriznar
Department of Art History, Faculty of Arts, University of Ljubljana, Slovenia
Day 1 - Wednesday 18 September 2013:  Painting techniques and materials of the 14th century murals that represent the so called 'hibrid' gothic style in Slovenia  -  9.45 - 10.10
Painting techniques of Kazimir Malevich: 1900-1910
Maria Kokkori
The Art Institute of Chicago, USA
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Picasso 1901: Working quickly and reuse of canvas
Aviva Burnstock*1, Barnaby Wright1, Klaas-Jan van den Berg2
1Courtauld Institute of Art, UK, 2RCE-Rijksdienst voor Cultureel Erfgoed/Netherlands Cultural Heritage Agency, The Netherlands
Day 3 - 20 September 2013:  Picasso 1901: Working quickly and reuse of canvas  -  14.50 - 15.15
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Prints and pastiglia: the surviving paintings of a late-medieval East Anglian workshop
Lucy Wrapson1,2
1Hamilton Kerr Institute, University of Cambridge, UK, 2Department of the History of Art, University of Cambridge, UK
Day 1 - Wednesday 18 September 2013:  Prints and pastiglia: the surviving paintings of a late-medieval East Anglian workshop  -  14.00 - 14.25
Remarkable white pigments on Liotards pastel paintings
Arie Wallert*, Joana Vaz Padroso
Rijksmuseum, The Netherlands
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Reynolds as Restorer: Prince Baltasar Carlos in Black and Silver
Lucy Davis*, Alexandra Gent
The Wallace Collection, UK
Day 3 - 20 September 2013:  Reynolds as Restorer: Prince Baltasar Carlos in Black and Silver  -  9.55 - 10.20
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
"Small is beautiful" Lead white in fine particle size.
Marya Albrecht*, Maartje Stols-Witlox
University of Amsterdam, The Netherlands
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
Techniques and materials of paintings on coffered ceilings in the North of Portugal
Rita Rodrigues
UCP, Portugal
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
The chineese room at Frederiksberg Castle
Anne Simonsen
Anne Simonson, Norway
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
The Enigmatic 'View of an Ideal City': A Renaissance Panel Reveals its Secrets 
Eric Gordon
Walters Art Museum, USA
Day 1 - Wednesday 18 September 2013:  The Enigmatic View of an Ideal City: A Renaissance Panel Reveals its Secrets  -  12.20 - 12.45
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
'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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
The material histories of late medieval altarpieces in Norway
Kristin Kausland
University of Oslo, Norway
Day 1 - Wednesday 18 September 2013:  The Material Histories of Late Medieval Altarpieces in Norway  -  16.40 - 17.05
The Palette and Painting Practices of Gerrit Dou
John Twilley
The Leiden Collection, USA
Day 2 - Thursday 19 September 2013:  The Palette and Painting Practices of Gerrit Dou  -  11.15 - 11.40
The restoration of The Three Marys at the Tomb by Van Eyck in Museum Boijmans Van Beuningen: a starting point for new research
Friso Lammertse1, Annetje Boersma*2,1, Eva van Zuien2,1, Katrien Keune3, Annelies van Loon3, Joris Dik4, Indra Kneepkens4
1Museum Boijmans van Beuningen, The Netherlands, 2Atelier Boersma, The Netherlands, 3Paint Science4Arts University of Amsterdam, The Netherlands, 4Delft University of Technology, The Netherlands
Day 1 - Wednesday 18 September 2013:  The restoration of The Three Marys at the Tomb by Van Eyck in Museum Boijmans Van Beuningen: a starting point for new research  -  10.35 - 11.00
'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
Day 2 - Thursday 19 September 2013:  Poster pitch session B (please click on the title for the program)  -  17.35 - 18.50
The surface of 'The Sun' Materials and techniques in Edvard Munch's monumental Aula-painting
Mirjam Liu*, Karen Mengshoel, Tine Frøysaker
University of Oslo, Norway
Day 3 - 20 September 2013:  The surface of The Sun Materials and techniques in Edvard Munch's monumental Aula-painting  -  16.15 - 16.40
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
Day 1 - Wednesday 18 September 2013:  Poster pitch session A (please click on the title for the program)  -  17.35 - 18.50
The Triumphal Procession of Andries Warmoes in the Hofkeshuis. A little known manner of painting brought to light
Margriet van Eikema Hommes*1,5, Piet Bakker1, Katrien Keune1, Ige Verslype1,2, Tatjana van Run1, Ruth Jongsma3, Maurice Steemers4
1Delft University of Technique, The Netherlands, 2Rijksmuseum Amsterdam, The Netherlands, 3Bureau voor Kleuronderzoek & Restauratie, The Netherlands, 4Enkzicht Restauratieatelier, The Netherlands, 5Cultural Heritage Agency of the Netherlands, The Netherlands
Day 3 - 20 September 2013:  The Triumphal Procession of Andries Warmoes in the Hofkeshuis. A little known manner of painting brought to light  -  11.15 - 11.40
‘The truth is for many years I was extremely fond of a very treacherous colour called Carmine...'. Sir Joshua Reynolds and his painting technique: fading, cracking and longevity
Erma Hermens*1, Mark Richter1, Stephan Schäfer2, Alasdair Clark3
1History of Art, School of Culture and Creative Arts, University of Glasgow, UK, 2Stephan Schäfer Conservação, Restauro, Brazil, 3School of Engineering, Biomedical Engineering, University of Glasgow, UK
Day 3 - 20 September 2013:  'The truth is for many years I was extremely fond of a very treacherous colour called Carmine...'. Sir Joshua Reynolds and his painting technique: fading, cracking and longevity  -  10.20 - 10.45
Thread count, weave, and ground analysis of Claude Monet's Vieille-Troisgros canvases in the Art Institute of Chicago
Kimberley Muir*1, Inge Fiedler1, Don Johnson2, Robert Erdmann3
1The Art Institute of Chicago, USA, 2Rice University, USA, 3The University of Arizona, USA
Day 3 - 20 September 2013:  Thread count, weave, and ground analysis of Claude Monet's Vieille-Troisgros canvases in the Art Institute of Chicago  -  12.05 - 12.30
Two painters, two centuries, one mural: technical research on the layered crucifixion mural in the Utrecht burial chapel of Guy of Avesnes
Anne-Maria van Egmond*1, Arie Wallert1,2
1University of Amsterdam, The Netherlands, 2Rijksmuseum Amsterdam, The Netherlands
Day 1 - Wednesday 18 September 2013:  Two painters, two centuries, one mural: technical research on the layered crucifixion mural in the Utrecht burial chapel of Guy of Avesnes  -  10.10 - 10.35