Meier Esther (1965- )
(4)
Waterman Joshua P. (1974- )
(4)
Baumbauer Benno (1984- )
(2)
Hirschfelder Dagmar (1973- )
(2)
Klusik-Eckert Jacqueline (1984- )
(2)
Schmidt Sebastian (1969- )
(2)
Ainsworth Maryan Wynn. The Middendorf altarpiece by a follower of Hugo van der Goes
(1)
Allart Dominique. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
(1)
Baum Katja von. Master or assistant? – painted alterations in the Pleydenwurff workshop
(1)
Baumer Ursula. Ernst Ludwig Kirchner's binding media - material surface and colour perception
(1)
Beil Cedric. Ernst Ludwig Kirchner's binding media - material surface and colour perception
(1)
Beltinger Karoline. Cuno Amiet und die Temperamalerei in der Schweiz um 1900
(1)
Berg Klaas Jan van den (1964- ). Breitner's paint box and the colours of Standage
(1)
Billinge Rachel. The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
(1)
Blumenroth Diana Sabine. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
(1)
Borchert Till-Holger (1967- )
(1)
Brink Peter van den (1956- ). Two “new” paintings by Jan de Beer – technical studies connoisseurship and provenance research
(1)
Bucken Veronique. Le Triptyque de l'Adoration des Mages (Turin-Genes) et le mecenat d'Hendrik Keddekin abbe de Ter Doest
(1)
Chorley Claire. Hans Holbein Hans of Antwerp - findings from the recent examination cleaning and restoration
(1)
Christie Nicola. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
(1)
Ciulisova Ingrid (1960- ). The Saint Michael altarpiece in Spisska Kapitula - a preliminary report
(1)
Currie Christina. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
(1)
Debaene Marjan (1978- ). Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
(1)
Diependaal Hannie. Breitner's paint box and the colours of Standage
(1)
Dietemann Patrick. Ernst Ludwig Kirchner's binding media - material surface and colour perception
(1)
Dubois Anne. XRF analysis of pigments in the Donne Hours (Louvain-la-Neuve Archives de l’Universite ms. A2)
(1)
Dyballa Katrin. The oeuvre of Jan Swart van Groningen reconsidered
(1)
Eckstein Lisa. Master or assistant? – painted alterations in the Pleydenwurff workshop
(1)
Ewing Dan. Two new paintings by Jan de Beer – technical studies connoisseurship and provenance research
(1)
Faries Molly (1940- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
(1)
Fiedler Irene (1948- ). Ernst Ludwig Kirchner's binding media - material surface and colour perception
(1)
Fraiture Pascale. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
(1)
Fransen Bart (1973- ). The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
(1)
Fucker Beate. Geschichte Herstellung und Verwendung von Glasaugen an barocker polychromer Grossplastik im deutschsprachigen Raum
(1)
Fucker Beate. Master or assistant? – painted alterations in the Pleydenwurff workshop
(1)
Gabler Wolfram (1954- )
(1)
Galassi Maria Clelia (1954- ). Revising Friedlander - the underdrawing connoisseurship” and the Master of the Turin Adoration
(1)
Gifford E. Melanie. Keynotlecture - Willem van Aelst and the market for still-life painting in Paris - reattribution of an aarly work
(1)
Griesebach Lucius (1942- ). Vorderseite? Ruckseite? ober beides? Uber den Umgang mit Ernst Ludwig Kirchners doppelseitig bemalten Leinwanden
(1)
Groot Suzan de (1972- ). Breitner's paint box and the colours of Standage
(1)
Haidvogl Martina. Audiokunstwerke von Dieter Roth. Problematiken und mogliche Losungsansatze zur Erhaltung
(1)
Hartwieg Babette (1958- ). The Goldene Tafel from Liineburg c. 1420 - new findings about painting process and characteristics
(1)
Henderiks Valentine. Albrecht Bouts in Sibiu: a unique self-portrait in Memento mori
(1)
Hirschfelder Dagmar (1973- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
(1)
Keijzer Matthijs de. Breitner's paint box and the colours of Standage
(1)
Kemperdick Stephan (1960- ). Philip the Good bare-headed - in search for original and copy
(1)
Kempski Mary. Who is the man in red and who painted him?
(1)
Keulen Henk van. Breitner's paint box and the colours of Standage
(1)
Krekel Christoph (1966- )
(1)
Krekel Christoph (1966- ). Der Reichtum der Palette. Kirchners Pigmente
(1)
Laine David. Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
(1)
Limentani Virdis Caterina (1940-2018). A new Virgo Lactans of the Gold Brocade group
(1)
Megens Luc (1970- ). Breitner's paint box and the colours of Standage
(1)
Meuwissen Daantje (1970- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
(1)
Muller Wolfgang (chemia). Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
(1)
Niessen Judith (1971- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
(1)
Oosterwijk Anne van. The contribution of technical art history to the reconstruction of the oeuvre of Pieter I Claeissens
(1)
Perier-D'Ieteren Catheline (1944- ). The painted wings of the Passion Altarpiece of Giistrow - a vast collective enterprise
(1)
Pfenninger Martina. Audiokunstwerke von Dieter Roth. Problematiken und mogliche Losungsansatze zur Erhaltung
(1)
Pohlmann Albrecht (1961- ). Der Kunstler schaffe bewusst!. Wilhelm Ostwalds Malerbriefe (1904) und andere Schriften als kunsttechnologisches Paradigma einer kommenden Kunst
(1)
Richter Mark. Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
(1)
Saint-George Caroline von (1971- ). Die Asthetik der Oberflache. Vom Umgang mit Firnis inderdeutschen Malerei um1900 mit abschliessendem Blick auf die Brucke
(1)
Sandalinas Linares Carmen. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
(1)
Saverwyns Steven. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
(1)
Scherrer Nadim C. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
(1)
Schick Karin (1968- ). Farbe in Schwarz-Weiss: Kompositionen bei Kirchner
(1)
Skowranek Heide (1973- ). Der Reichtum der Palette. Kirchners Pigmente
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Skowranek Heide (1973- ). Unmittelbar und expressiv? Zur technischen Genese der Malerei Ernst Ludwig Kirchners
(1)
Soika Aya (1975- ). Die Originalitat der Brucke
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Stege Heike (1970- ). Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
(1)
Steuer Christoph. Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
(1)
Steyaert Griet (1965- ). The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
(1)
Van Eyck Elisabeth. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
(1)
Waterman Joshua P. (1974- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
(1)
Whitaker Lucy. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
(1)
Whitaker Lucy. Who is the man in red and who painted him?
(1)
Wolters Margreet (1958- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
(1)
Zumbuhl Stefan. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
(1)