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Fig. 7 | Heritage Science

Fig. 7

From: The dark halo technique in the oeuvre of Michael Sweerts and other Flemish and Dutch baroque painters. A 17th c. empirical solution to mitigate the optical ‘simultaneous contrast’ effect?

Fig. 7

A Peter Paul Rubens (studio copy), Venus trying to restrain Adonis from departing for the hunt, c. 1600–1700. Oil on panel, 59 × 81 cm. Mauritshuis (The Hague), inv.no. 254. The white rectangles indicate the areas of the details shown in B and C. Image courtesy from the Mauritshuis Museum. Photography by Margareta Svensson. B IRR of a detail of Rubens’ Venus trying to restrain Adonis. C IRR of a detail of Rubens’ Venus trying to restrain Adonis. (Source: Wadum [17]). D Peter Paul Rubens and Jan Brueghel the Elder, Nymphs Filling the Cornucopia, c. 1615. Oil on panel, 67.5 × 107 cm. Mauritshuis (The Hague), inv.no. 234. The white rectangle indicates the area of the detail shown in E. Image courtesy of the Mauritshuis Museum. Photography by Margareta Svensson. E IRR of a detail of Rubens’ Nymphs Filling the Cornucopia. (Source: Wadum 17). F Anthony Van Dyck, Portrait of the Abbé Scaglia (detail), 1634. Oil on canvas, 200 × 123 cm. National Gallery (London), inv.no. NG6575. Around the head of the sitter, a dark halo can be seen through the upper paint layers. Image courtesy of the National Gallery (London). G Anthony Van Dyck, The Abbé Scaglia adoring the Virgin and Child, 1634–35. Oil on canvas, 106.7 × 120 cm. National Gallery (London), inv.no. NG4889. The white rectangle indicates the area of the detail shown in H. Image courtesy of the National Gallery (London). H IRP of a detail of Van Dyck’s The Abbé Scagllia adoring the Virgin and Child. Around the foot of the child, a dark halo can be seen. Image courtesy of the National Gallery (London)

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