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Dual mode standoff imaging spectroscopy documents the painting process of the Lamb of God in theGhent Altarpieceby J. and H. Van Eyck

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References

2008Visualization of a Lost Painting by Vincent van Gogh Using Synchrotron Radiation Based X-ray Fluorescence Elemental Mapping317 cited
2011Optimization of mobile scanning macro-XRF systems for the in situ investigation of historical paintings188 cited
2015Strategies for processing mega-pixel X-ray fluorescence hyperspectral data: a case study on a version of Caravaggio's painting Supper at Emmaus184 cited
1956Cross-Sections and Chemical Analysis of Paint Samples180 cited
2017Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments70 cited
2014Complementary Standoff Chemical Imaging to Map and Identify Artist Materials in an Early Italian Renaissance Panel Painting68 cited
2015Automatic registration and mosaicking of technical images of Old Master paintings66 cited
2014Femtosecond pump-probe microscopy generates virtual cross-sections in historic artwork61 cited
2016Rembrandt's ‘Saul and David’ (c. 1652): Use of multiple types of smalt evidenced by means of non-destructive imaging51 cited
2018In situ macro X-ray fluorescence (MA-XRF) scanning as a non-invasive tool to probe for subsurface modifications in paintings by P.P. Rubens46 cited
2018Integrated X-ray fluorescence and diffuse visible-to-near-infrared reflectance scanner for standoff elemental and molecular spectroscopic imaging of paints and works on paper45 cited
2019Artificial intelligence for art investigation: Meeting the challenge of separating x-ray images of the Ghent Altarpiece

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