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dc.contributor.authorCurrie, Christina
dc.contributor.editorVerougstraete, Hélène
dc.contributor.editorVan Schoute, Roger
dc.coverage.spatialBelgiumen_US
dc.coverage.temporal17th centuryen_US
dc.date2001
dc.date.accessioned2021-03-12T09:43:34Z
dc.date.available2021-03-12T09:43:34Z
dc.identifier.citationCurrie 2001en_US
dc.identifier.isbn90-429-1047-X
dc.identifier.urihttps://orfeo.kbr.be/handle/internal/7739
dc.descriptionAs part of a doctoral thesis into the working techniques of paintings by Pieter Brueghel the Younger in Belgian public collections, the Ghent version of the 'Wedding Dance' was closely examined using dendrochronology, X-radiography, infrared reflectography and the binocular microscope. Dendrochronology, plus analysis of the Antwerp brand and the "clover" panel maker's mark of Michiel Claessens, dates the panel to 1620 or after. Infrared reflectography also identifies particular stylistic traits in the underdrawing. X-radiography shows that the artist used the traditional technique of leaving reserves in the background paint for his major forms.en_US
dc.languageengen_US
dc.publisherPeeters, Leuvenen_US
dc.relation.ispartofseriesLe dessin sous-jacent et la technologie dans la peintureen_US
dc.titleTechnical Study of Paintings by Pieter Brueghel the Younger in Belgian Public Collections: Preliminary Resultsen_US
dc.typeArticleen_US
dc.subject.frascatiArtsen_US
dc.audienceScientificen_US
dc.subject.freeBrueghel the Younger, underdrawingen_US
dc.source.titleLa peinture et le laboratoire. Procédés. Méthodologie. Applicationsen_US
dc.source.volumeColloque XIIIen_US
dc.source.issue2001en_US
dc.source.page121-130en_US
Orfeo.peerreviewedNoen_US


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