Large-area chemical imaging reveals original paint layers on Ghent altarpiece Considered the pinn... more Large-area chemical imaging reveals original paint layers on Ghent altarpiece Considered the pinnacle of mediaeval painting, the Ghent Altarpiece was painted around 1432 by Jan van Eyck and probably his brother Hubert. It is currently undergoing the most extensive conservation treatment for more than a century. The decision to remove all overpaint was underpinned by scientific arguments: Belgian researchers report in the journal Angewandte Chemie about their use of "chemical maps" to visualize the original paint layers under the overpainted surface.
Der GenterA ltar von van Eyck … …g ilt vielen als Hçhepunkt der mittelalterlichen Malerei in Euro... more Der GenterA ltar von van Eyck … …g ilt vielen als Hçhepunkt der mittelalterlichen Malerei in Europa. In der Zuschrift auf S. 4875 ff.b eschreiben G. Va nder Snickt et al.,w ie sie mithilfe von Elementbildgebung (EI) im Groß-und Mikromaßstab die Zusammensetzung der gesamten Farboberfläche der Flügelrückseiten erhielten, was die übermalten originalen Farbschichten wieder sichtbar machte und ihre Beurteilung ermçglichte.D iese EI lieferte objektive Argumente fürdie vollständige Entfernung der oberen Farbschichten.
In the framework of the research project on the works attributed to the Master of Elsloo, the mat... more In the framework of the research project on the works attributed to the Master of Elsloo, the materials and techniques used in polychromy were studied. Seven sculptures have been examined: the Crucified Christ and an Apostle from Ellikom, St Quirinus from Gerdingen, St Anthony Abbot from Neeroeteren, the Crucified Christ from Meeuwen, the Virgin and Child on the Crescent Moon in Liège and the St Anne with the Virgin and Child from Elsloo. The results were interpreted in their technological and historical context, which led to a number of interesting findings, such as gilding with both fine gold leaf (almost pure gold) and ‘part gold’ or Zwischgold (produced by beating gold and silver leaf together) and the use of madder lake (Rubia tinctorum L.), obtained from waste from the textile industry.
The conservation and restoration of the sculpture of the Crucified Christ was part of the Interna... more The conservation and restoration of the sculpture of the Crucified Christ was part of the International Conservation Workshop Lopud (ICWL).1 The continuation of the initial investigation has recently revealed the use of maize stalks (Zea mays) for the making of the volumes of the image. The employment of this material is part of a technique that is found exclusively in the Mexican art of the sixteenth and part of the seventeenth centuries. Likewise, the notable formal dependencies that will be later disclosed, as well as technical aspects of this piece, which are comparable to similar examples found in Mexico and Spain, allow us to confirm that this crucifix is an early import to Lopud, an island that at the time belonged to the Republic of Ragusa, in present-day Croatia. This case, therefore, sheds light on the early contact between the eastern Adriatic and Mexico and, at the same time, it is a noteworthy work of reference for current scholarship on early lightweightsculpture produ...
Large-area chemical imaging reveals original paint layers on Ghent altarpiece Considered the pinn... more Large-area chemical imaging reveals original paint layers on Ghent altarpiece Considered the pinnacle of mediaeval painting, the Ghent Altarpiece was painted around 1432 by Jan van Eyck and probably his brother Hubert. It is currently undergoing the most extensive conservation treatment for more than a century. The decision to remove all overpaint was underpinned by scientific arguments: Belgian researchers report in the journal Angewandte Chemie about their use of "chemical maps" to visualize the original paint layers under the overpainted surface.
Der GenterA ltar von van Eyck … …g ilt vielen als Hçhepunkt der mittelalterlichen Malerei in Euro... more Der GenterA ltar von van Eyck … …g ilt vielen als Hçhepunkt der mittelalterlichen Malerei in Europa. In der Zuschrift auf S. 4875 ff.b eschreiben G. Va nder Snickt et al.,w ie sie mithilfe von Elementbildgebung (EI) im Groß-und Mikromaßstab die Zusammensetzung der gesamten Farboberfläche der Flügelrückseiten erhielten, was die übermalten originalen Farbschichten wieder sichtbar machte und ihre Beurteilung ermçglichte.D iese EI lieferte objektive Argumente fürdie vollständige Entfernung der oberen Farbschichten.
In the framework of the research project on the works attributed to the Master of Elsloo, the mat... more In the framework of the research project on the works attributed to the Master of Elsloo, the materials and techniques used in polychromy were studied. Seven sculptures have been examined: the Crucified Christ and an Apostle from Ellikom, St Quirinus from Gerdingen, St Anthony Abbot from Neeroeteren, the Crucified Christ from Meeuwen, the Virgin and Child on the Crescent Moon in Liège and the St Anne with the Virgin and Child from Elsloo. The results were interpreted in their technological and historical context, which led to a number of interesting findings, such as gilding with both fine gold leaf (almost pure gold) and ‘part gold’ or Zwischgold (produced by beating gold and silver leaf together) and the use of madder lake (Rubia tinctorum L.), obtained from waste from the textile industry.
The conservation and restoration of the sculpture of the Crucified Christ was part of the Interna... more The conservation and restoration of the sculpture of the Crucified Christ was part of the International Conservation Workshop Lopud (ICWL).1 The continuation of the initial investigation has recently revealed the use of maize stalks (Zea mays) for the making of the volumes of the image. The employment of this material is part of a technique that is found exclusively in the Mexican art of the sixteenth and part of the seventeenth centuries. Likewise, the notable formal dependencies that will be later disclosed, as well as technical aspects of this piece, which are comparable to similar examples found in Mexico and Spain, allow us to confirm that this crucifix is an early import to Lopud, an island that at the time belonged to the Republic of Ragusa, in present-day Croatia. This case, therefore, sheds light on the early contact between the eastern Adriatic and Mexico and, at the same time, it is a noteworthy work of reference for current scholarship on early lightweightsculpture produ...
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