Beil Cedric. Ernst Ludwig Kirchner's binding media - material surface and colour perception
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Beltinger Karoline. Cuno Amiet und die Temperamalerei in der Schweiz um 1900
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Berg Klaas Jan van den (1964- ). Breitner's paint box and the colours of Standage
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Blumenroth Diana Sabine. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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Brooks Mary M. Authenticity in the revival of Orthodox ecclesiastical embroidery in post-Soviet Russia
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Brooks Mary M. Indisputable authenticity: engaging with the real in the museum
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Bulow Anna. Cultural heritage online: questions of authenticity authority and authorship
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Chiostrini Giulia. Differing interpretations of the authenticity of an Ushak carpet from The Metropolitan Museum of Art
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Coutinho Barbara. How to keep what was intended to be temporarily functional?
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Diependaal Hannie. Breitner's paint box and the colours of Standage
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Dietemann Patrick. Ernst Ludwig Kirchner's binding media - material surface and colour perception
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Eastop Dinah. Authenticity in the revival of Orthodox ecclesiastical embroidery in post-Soviet Russia
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Eastop Dinah. Cultural heritage online: questions of authenticity authority and authorship
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El-Maalouf Aline. Baskinta's Mother(s) of God: one strainer with two paintings found in the Convent of Saint Saqssine in Lebanon
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Ferreira Joana Lia. How to keep what was intended to be temporarily functional?
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Fiedler Irene (1948- ). Ernst Ludwig Kirchner's binding media - material surface and colour perception
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Foskett Sarah. The Triumph of the Virgin: unravelling authenticities in Glasgow Museums' tapestry
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Fucker Beate. Geschichte Herstellung und Verwendung von Glasaugen an barocker polychromer Grossplastik im deutschsprachigen Raum
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Gordon Rebecca. Identifying and pursuing authenticity in contemporary art
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Gordon Rebecca. Real life questions of authenticity
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Griesebach Lucius (1942- ). Vorderseite? Ruckseite? ober beides? Uber den Umgang mit Ernst Ludwig Kirchners doppelseitig bemalten Leinwanden
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Groot Suzan de (1972- ). Breitner's paint box and the colours of Standage
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Haidvogl Martina. Audiokunstwerke von Dieter Roth. Problematiken und mogliche Losungsansatze zur Erhaltung
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Hermens Erma (1958- )
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Jones Ceri (1964- ). Bringing the past to life?
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Keijzer Matthijs de. Breitner's paint box and the colours of Standage
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Keulen Henk van. Breitner's paint box and the colours of Standage
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Khalife Kerstin. Baskinta's Mother(s) of God: one strainer with two paintings found in the Convent of Saint Saqssine in Lebanon
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Krekel Christoph (1966- ). Baskinta's Mother(s) of God: one strainer with two paintings found in the Convent of Saint Saqssine in Lebanon
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Krekel Christoph (1966- ). Der Reichtum der Palette. Kirchners Pigmente
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Macedo Rita. How to keep what was intended to be temporarily functional?
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Megens Luc (1970- ). Breitner's paint box and the colours of Standage
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Milnes Anne. Experiencing the authentic: the reconstruction of the Tingelstad frontal a Norwegian altar frontal from the 13th century
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Morena Jill. Definitions of authenticity: a study of the relationship between the reprodution and original Gone With The Wind costumes at the Harry Ransom Center
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Mulholland Richard. And I know damned-well what he wanted: deliberate alteration and interpretations of intent in several late sculptures by David Smith
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Muller Wolfgang (chemia). Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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Nurse Luba Dovgan. Authenticity in the revival of Orthodox ecclesiastical embroidery in post-Soviet Russia
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O'Neill Harriet. Twenty-first century approaches to reframing Italian Renaissance panels at the National Gallery
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Penney Caron. Rediscovering the Unicorn tapesries
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Pfenninger Martina. Audiokunstwerke von Dieter Roth. Problematiken und mogliche Losungsansatze zur Erhaltung
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Plender Sophie. Calling authenticity into question: investigating the production of versions and copies in Tudor portraiture
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Pohlmann Albrecht (1961- ). Der Kunstler schaffe bewusst!. Wilhelm Ostwalds Malerbriefe (1904) und andere Schriften als kunsttechnologisches Paradigma einer kommenden Kunst
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Rajgopal Uthra. Dressing up for the Preston Guild: a very admirable and correct costume!
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Ramos Ana Maria. How to keep what was intended to be temporarily functional?
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Richter Mark. Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
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Sa Susana Franca de. How to keep what was intended to be temporarily functional?
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Saint-George Caroline von (1971- ). Die Asthetik der Oberflache. Vom Umgang mit Firnis inderdeutschen Malerei um1900 mit abschliessendem Blick auf die Brucke
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Saltmarsh Polly. Calling authenticity into question: investigating the production of versions and copies in Tudor portraiture
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Scharffenberg Katrine. Experiencing the authentic: the reconstruction of the Tingelstad frontal a Norwegian altar frontal from the 13th century
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Scherrer Nadim C. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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Schick Karin (1968- ). Farbe in Schwarz-Weiss: Kompositionen bei Kirchner
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Sinclair Ross. Real life questions of authenticity
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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
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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
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Steuer Christoph. Indanthrenblau Helioechtrot and Pigmentscharlach. Identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy
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Sugiyama Keisuke. Conservation of Japanese paintings on paper and silk: tradition and innovation
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Zumbuhl Stefan. Losemittelsensitivitat moderner Olfarben. Empfindlichkeit synthetisch-organischer Pigmente in Kunstlerfarben des 20. Jahrhunderts
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