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 underlayers that vary in colour and thickness, on top of which he applied the upper paint layer(s). To investigate the painting's genesis, the Girl was examined using non-invasive scientific imaging as part of the project The Girl in the Spotlight (2018). This was complemented by the re-examination of existing paint cross-sections using microscopic analytical techniques, including focused ion beam-scanning transmission electron microscopy (FIB-STEM). The weave of the canvas, visible in the X-radiograph, was examined using a new computer-assisted thread-level canvas analysis algorithm to measure the thread spacing and thread angles. The canvas was primed with a warm light grey ground, although probably not by Vermeer himself. The tinted ground provided neutral base tone upon which he began to lay in areas of light and shade in his composition, and some outlines around the figure. Multispectral infrared reflectography( MS-IRR) images in four spectral bands spanning the spectral range from 900 to 2500 nm were collected of the painting at high spatial resolution (50 µm/pixel). Visible 3D digital microscopy visualised the underlayers where Vermeer left them visible around the perimeter of the figure as a contour, and where the upper paint layers are thin. These infrared reflectograms and visible micrographs identified three distinct preparatory phases of Girl with a Pearl Earring: the ground, fine black outlines, and underlayers. Some pentimenti were also detected, including a change in the position of her ear. The combination of examination methods showed that the materials beneath the surface played an important role in establishing the three-dimensional space, fall of light, and the eventual colour in different areas of the painting.

Visible and infrared reflectance imaging spectroscopy is one of the several non-invasive techniques used during Operation Night Watch for the study of Rembrandt’s iconic masterpiece The Night Watch (1642). The goals of this project include the identification and mapping of the artists’ materials, providing information about the painting technique used as well as documenting the painting’s current state and ultimately determining the possible conservation plan. The large size of the painting (3.78 m by 4.53 m) and the diversity of the technical investigations being performed make Operation Night Watch the largest research project ever undertaken at the Rijksmuseum. To construct a complete reflectance image cube at a high spatial resolution (168 µm2) and spectral resolution (2.54 to 6 nm), the painting was imaged with two high-sensitivity line scanning hyperspectral cameras (VNIR 400 to 1000 nm, 2.54 nm, and SWIR 900 to 2500 nm, 6 nm). Given the large size of the painting, a custom computer-controlled 3-D imaging frame was constructed to move each camera, along with lights, across the painting surface. A third axis, normal to the painting, was added along with a distance-sensing system which kept the cameras in focus during the scanning. A total of 200 hyperspectral image swaths were collected, mosaicked and registered to a high-resolution color image to sub-pixel accuracy using a novel registration algorithm. The preliminary analysis of the VNIR and SWIR reflectance images has identified many of the pigments used and their distribution across the painting. The SWIR, in particular, has provided an improved visualization of the preparatory sketches and changes in the painted composition. These data sets, when combined with the results from the other spectral imaging modalities and paint sample analyses, will provide the most complete understanding of the materials and painting techniques used by Rembrandt in The Night Watch.

International audienceEnthalpy relaxation processes in chalcogenide fibers at room temperature are investigated by differential scanning calorimetry and compared with bending-stress relaxation measurements obtained by rolling fibers on a mandrel and recording the viscoelastic relaxation parameters. While the kinetics of the two processes is very different, several qualitative correlations are demonstrated between the enthalpy state and the mechanical properties of chalcogenide glass fibers. It is observed that the ability to undergo stress relaxation is dependent upon the fictive temperature of the glass. Stress relaxation in a glass far from thermodynamic equilibrium is contingent upon its ability to undergo enthalpy relaxation and is minimal in glasses that have already relaxed enthalpy or in which relaxation time is overwhelmingly large