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12 result(s) for 'vandivere' within Heritage Science

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  1. Girl with a Pearl Earring by Johannes Vermeer (c. 1665) is the most beloved painting in the collection of the Mauritshuis in The Hague, The Netherlands. The Girl was last examined during a 1994 restoration treatm...

    Authors: Abbie Vandivere, Jørgen Wadum, Klaas Jan van den Berg and Annelies van Loon
    Citation: Heritage Science 2019 7:66
  2. Johannes Vermeer (1632–1675) is known for his brilliant blue colours, and his frequent use of the costly natural ultramarine. This paper reveals new findings about ultramarine in the headscarf of Girl with a Pear...

    Authors: Annelies van Loon, Alessa A. Gambardella, Victor Gonzalez, Marine Cotte, Wout De Nolf, Katrien Keune, Emilien Leonhardt, Suzan de Groot, Art Ness Proaño Gaibor and Abbie Vandivere
    Citation: Heritage Science 2020 8:25
  3. The initial steps that Johannes Vermeer took to create Girl with a Pearl Earring (c. 1665) are, partially or completely, hidden beneath the painted surface. Vermeer’s painting technique involved applying underlay...

    Authors: Abbie Vandivere, Annelies van Loon, Kathryn A. Dooley, Ralph Haswell, Robert G. Erdmann, Emilien Leonhardt and John K. Delaney
    Citation: Heritage Science 2019 7:64
  4. The soft modelling of the skin tones in Vermeer’s Girl with a Pearl Earring (Mauritshuis) has been remarked upon by art historians, and is their main argument to date this painting to c. 1665. This paper describe...

    Authors: Annelies van Loon, Abbie Vandivere, John K. Delaney, Kathryn A. Dooley, Steven De Meyer, Frederik Vanmeert, Victor Gonzalez, Koen Janssens, Emilien Leonhardt, Ralph Haswell, Suzan de Groot, Paolo D’Imporzano and Gareth R. Davies
    Citation: Heritage Science 2019 7:102
  5. The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl ...

    Authors: Abbie Vandivere, Annelies van Loon, Tom Callewaert, Ralph Haswell, Art Ness Proaño Gaibor, Henk van Keulen, Emilien Leonhardt and Joris Dik
    Citation: Heritage Science 2019 7:69
  6. A seventeenth-century canvas painting is usually comprised of varnish and (translucent) paint layers on a substrate. A viewer’s perception of a work of art can be affected by changes in and damages to these la...

    Authors: Willemijn S. Elkhuizen, Tom W. J. Callewaert, Emilien Leonhardt, Abbie Vandivere, Yu Song, Sylvia C. Pont, Jo M. P. Geraedts and Joris Dik
    Citation: Heritage Science 2019 7:89
  7. The use of non-invasive macroscopic imaging techniques is becoming more prevalent in the field of cultural heritage, especially to avoid invasive procedures that damage valuable artworks. For this purpose, an ...

    Authors: Steven De Meyer, Frederik Vanmeert, Rani Vertongen, Annelies van Loon, Victor Gonzalez, Geert van der Snickt, Abbie Vandivere and Koen Janssens
    Citation: Heritage Science 2019 7:67
  8. Although the topic is rarely addressed in literature, a significant number of baroque paintings exhibit dark, halo-like shapes around the contours of the dramatis personae. Close examination of both finished a...

    Authors: Kirsten Derks, Geert Van der Snickt, Stijn Legrand, Katlijne Van der Stighelen and Koen Janssens
    Citation: Heritage Science 2022 10:5
  9. This article discusses the technical examination of five flower and fruit still life paintings by the seventeenth century artist Jan Davidsz. de Heem (1606–1684). The painter is known for his meticulously comp...

    Authors: Nouchka De Keyser, Geert Van der Snickt, Annelies Van Loon, Stijn Legrand, Arie Wallert and Koen Janssens
    Citation: Heritage Science 2017 5:38

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