Berrie Barbara Hepburn. Gerard David’s St. Anne altarpiece: evidence for workshop participation
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Billinge Rachel. The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
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Birkmaier Ulrich. Technical examinations of Titian’s Venus and Adonis: a note on early Italian oil painting technique
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Borchert Till-Holger (1967- )
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Brink Peter van den (1956- ). Two “new” paintings by Jan de Beer – technical studies connoisseurship and provenance research
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Bucken Veronique. Le Triptyque de l'Adoration des Mages (Turin-Genes) et le mecenat d'Hendrik Keddekin abbe de Ter Doest
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Carlyle Leslie. Beyond a collection of data: what we can learn from documentary sources on artists' materials and techniques
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Choldere Dace. A technical study of the materials and methods used by the painters of the Latvian churches in the seventeenth century
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Chorley Claire. Hans Holbein Hans of Antwerp - findings from the recent examination cleaning and restoration
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Christie Nicola. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
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Ciulisova Ingrid (1960- ). The Saint Michael altarpiece in Spisska Kapitula - a preliminary report
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Currie Christina. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Darrah Josephine A. Connections and coincidences: three pigments
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Debaene Marjan (1978- ). Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
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Dubois Anne. XRF analysis of pigments in the Donne Hours (Louvain-la-Neuve Archives de l’Universite ms. A2)
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Duffy Kate I. An investigation of palette and color notations used to ceate a set of Tibetan thangkas
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Dyballa Katrin. The oeuvre of Jan Swart van Groningen reconsidered
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Eckstein Lisa. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Elgar Jacki A. An investigation of palette and color notations used to ceate a set of Tibetan thangkas
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Ewing Dan. Two new paintings by Jan de Beer – technical studies connoisseurship and provenance research
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Faries Molly (1940- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
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Faries Molly (1940- ). Maarten van Heemskerck and Jan van Scorel’s Haarlem workshop
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Federspiel Beate Knuth. Questions about medieval gesso grounds
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Fraiture Pascale. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Franits Wayne E. (1956- )
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Fransen Bart (1973- ). The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Fucker Beate. Master or assistant? – painted alterations in the Pleydenwurff workshop
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Galassi Maria Clelia (1954- ). Revising Friedlander - the underdrawing connoisseurship” and the Master of the Turin Adoration
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Gayer John R. Painting on a photographic substrate: notes regarding materials and techniques over the past 100 years
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Gifford E. Melanie. Keynotlecture - Willem van Aelst and the market for still-life painting in Paris - reattribution of an aarly work
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Gifford E. Melanie. Style and technique in Dutch landscape painting in the 1620s
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Glanville Helen. Varnish grounds viewing distance and lighting: some notes on seventeenth-century Italian painting technique
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Hackney Stephen. Art for art's sake: the materials and techniques of James McNeill Whistler (1834-1903)
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Hartwieg Babette (1958- ). The Goldene Tafel from Liineburg c. 1420 - new findings about painting process and characteristics
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Henderiks Valentine. Albrecht Bouts in Sibiu: a unique self-portrait in Memento mori
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Hermens Erma (1958- )
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Hermens Erma (1958- ). A seventeenth-century Italian treatise on miniature painting and its author(s)
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Hirschfelder Dagmar (1973- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
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Howard Helen. Techniques of the Romanesque and Gothic wall paintings in the Holy Sepulchre Chapel Winchester Cathedral
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Katz Melissa R. William Holman Hunt and the Pre-Raphaelite technique
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Kemperdick Stephan (1960- ). Philip the Good bare-headed - in search for original and copy
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Kempski Mary. Who is the man in red and who painted him?
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Kirby Jo. Paul Delaroche: a case study of academic painting
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Laine David. Reading between the lines... - attribution problems regarding early sixteenth century Louvain painters
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Limentani Virdis Caterina (1940-2018). A new Virgo Lactans of the Gold Brocade group
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Massing Ann. From books of secrets to encyclopedias: painting techniques in France between 1600 and 1800
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Metzger Catherine A. Gerard David’s St. Anne altarpiece: evidence for workshop participation
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Meuwissen Daantje (1970- ). Identifying two family members in Jacob Cornelisz's Amsterdam workshop: Cornelis Buys and Cornelis Anthonisz
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Niessen Judith (1971- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
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Oosterwijk Anne van. The contribution of technical art history to the reconstruction of the oeuvre of Pieter I Claeissens
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Peek Marja F. J. (1961- )
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Perier-D'Ieteren Catheline (1944- ). The painted wings of the Passion Altarpiece of Giistrow - a vast collective enterprise
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Poriete Ilze. A technical study of the materials and methods used by the painters of the Latvian churches in the seventeenth century
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Roelofs Pieter (1972- )
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Rothe Andrea (1936- ). Andrea Mantegna's Adoration of the Magi
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Rothe Andrea (1936- ). Technical examinations of Titian’s Venus and Adonis: a note on early Italian oil painting technique
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Roy Ashok. Paul Delaroche: a case study of academic painting
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Sandalinas Linares Carmen. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Saverwyns Steven. A case of mistaken identity - a version of the Good Shepherd by Pieter Brueghel the Younger
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Sinclair Eddie. The polychromy of Exeter and Salisbury Cathedrals: a preliminary comparison
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Skalova Zuzana. New evidence for the medieval production of icons in the Nile Valley
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Steinbuchel Christa. Maarten van Heemskerck and Jan van Scorel’s Haarlem workshop
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Steyaert Griet (1965- ). The Beaune last judgement - sorting out Rogier van der Weyden and his assistants
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Stone-Ferrier Linda A
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Stulik Dusan (1956- ). An integrated approach for the study of painting techniques
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Townsend Joyce H. Painting techniques and materials of Turner and other British artists 1775–1875
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Van Eyck Elisabeth. The Polyptych of the Seven Sorrows of the Virgin in the Museu Frederic Mares - as unusual altarpiece
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Wadum Jorgen. Johannes Vermeer (1632–1675) and his use of perspective
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Waiboer Adriaan E. (1972- )
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Wallert Arie (1950- )
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Wallert Arie (1950- ). Libro Secondo de Diversi Colori e Sise da Mettere a Oro: a fifteenth-century technical treatise on manuscript illumination
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Wallert Arie (1950- ). Technical examinations of Titian’s Venus and Adonis: a note on early Italian oil painting technique
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Waterman Joshua P. (1974- ). Master or assistant? – painted alterations in the Pleydenwurff workshop
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Wetering Ernst van de (1938-2021). Reflections on the relation between technique and style: the use of the palette by the seventeenth-century painter
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Whitaker Lucy. The Calling of Saint Matthew attributed to the Master of the Abbey of Dielegem
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Whitaker Lucy. Who is the man in red and who painted him?
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Wolters Margreet (1958- ). The triptych of the True Cross in Veurne in connection to a drawing in Rotterdam - working process and attribution
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Woodcock Sally. The Roberson Archive: content and significance
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Woudhuysen-Keller Renate (1944-2012). Aspects of painting technique in the use of verdigris and copper resinate
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