Rembrandt (1606–1669) is renowned for his impasto technique, involving his use of lead white paint with outstanding rheological properties. This paint was obtained by combining lead white pigment (a mixture of cerussite PbCO3 and hydrocerussite Pb3(CO3)2(OH)2) with an organic binding medium, but the exact formulation used by Rembrandt remains a mystery. A powerful combination of high‐angle and high‐lateral resolution x‐ray diffraction was used to investigate several microscopic paint samples from four Rembrandt masterpieces. A rare lead compound, plumbonacrite (Pb5(CO3)3O(OH)2), was detected in areas of impasto. This can be considered a fingerprint of Rembrandt's recipe and is evidence of the use of an alkaline binding medium, which sheds a...
The in situ formation of lead–sulfur inorganic compounds in historical oil paintings can have a stro...
Over the past several decades the oeuvre of Rembrandt has been the subject of extensive art historic...
Late paintings of Rembrandt van Rijn (1606–1669) offer intriguing problems for both art historians a...
Rembrandt (1606–1669) is renowned for his impasto technique, involving his use of lead white paint w...
Rembrandt (1606–1669) is renowned for his impasto technique, involving his use of lead white paint w...
Red lead, a semiconductor pigment used by artists since antiquity, is known to undergo several disco...
The surface of many Old Master paintings has been affected by the appearance of whitish lead-rich de...
As part of the NWO Science4Arts REVISRembrandt project (2012–2018), novel chemical imaging technique...
Until the 19th century, lead white was the most important white pigment used in oil paintings. Lead ...
International audienceMicro-samples collected on 28 major paintings by Old European Masters dating f...
The use of non-invasive macroscopic imaging techniques is becoming more prevalent in the field of cu...
This paper reports on how the application of macro X-ray fluorescence (MA-XRF) imaging, in combinati...
Recent macro-XRF scanning of Rembrandt’s Selfportrait from 1669 in the Mauritshuis – as part of the ...
The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradati...
The lead white pigment was used and synthesised for cosmetic and artistic purposes since antiquity. ...
The in situ formation of lead–sulfur inorganic compounds in historical oil paintings can have a stro...
Over the past several decades the oeuvre of Rembrandt has been the subject of extensive art historic...
Late paintings of Rembrandt van Rijn (1606–1669) offer intriguing problems for both art historians a...
Rembrandt (1606–1669) is renowned for his impasto technique, involving his use of lead white paint w...
Rembrandt (1606–1669) is renowned for his impasto technique, involving his use of lead white paint w...
Red lead, a semiconductor pigment used by artists since antiquity, is known to undergo several disco...
The surface of many Old Master paintings has been affected by the appearance of whitish lead-rich de...
As part of the NWO Science4Arts REVISRembrandt project (2012–2018), novel chemical imaging technique...
Until the 19th century, lead white was the most important white pigment used in oil paintings. Lead ...
International audienceMicro-samples collected on 28 major paintings by Old European Masters dating f...
The use of non-invasive macroscopic imaging techniques is becoming more prevalent in the field of cu...
This paper reports on how the application of macro X-ray fluorescence (MA-XRF) imaging, in combinati...
Recent macro-XRF scanning of Rembrandt’s Selfportrait from 1669 in the Mauritshuis – as part of the ...
The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradati...
The lead white pigment was used and synthesised for cosmetic and artistic purposes since antiquity. ...
The in situ formation of lead–sulfur inorganic compounds in historical oil paintings can have a stro...
Over the past several decades the oeuvre of Rembrandt has been the subject of extensive art historic...
Late paintings of Rembrandt van Rijn (1606–1669) offer intriguing problems for both art historians a...