{"database":"biostudies-literature","file_versions":[],"scores":null,"additional":{"submitter":["Van der Snickt G"],"funding":["University of Antwerp Research Council","Belgian Science Policy Office","FWO"],"pagination":["eabb3379"],"full_dataset_link":["https://www.ebi.ac.uk/biostudies/studies/S-EPMC7439313"],"repository":["biostudies-literature"],"omics_type":["Unknown"],"volume":["6(31)"],"pubmed_abstract":["The ongoing conservation treatment program of the <i>Ghent Altarpiece</i> by Hubert and Jan Van Eyck, one of the iconic paintings of the west, has revealed that the designs of the paintings were changed several times, first by the original artists, and then during later restorations. The central motif, The Lamb of God, representing Christ, plays an essential iconographic role, and its depiction is important. Because of the prevalence of lead white, it was not possible to visualize the Van Eycks' original underdrawing of the Lamb, their design changes, and the overpaint by later restorers with a single spectral imaging modality. However, by using elemental (x-ray fluorescence) and molecular (infrared reflectance) imaging spectroscopies, followed by analysis of the resulting data cubes, the "],"journal":["Science advances"],"pubmed_title":["Dual mode standoff imaging spectroscopy documents the painting process of the Lamb of God in the <i>Ghent Altarpiece</i> by J. and H. Van Eyck."],"pmcid":["PMC7439313"],"funding_grant_id":["G054719N","MO/39/011","BOF-GOA 30725","G056619N"],"pubmed_authors":["Dubois H","Van der Snickt G","Sanyova J","Gifford EM","Janssens K","Legrand S","Delaney JK","Laquiere N","Dooley KA"],"additional_accession":[]},"is_claimable":false,"name":"Dual mode standoff imaging spectroscopy documents the painting process of the Lamb of God in the <i>Ghent Altarpiece</i> by J. and H. Van Eyck.","description":"The ongoing conservation treatment program of the <i>Ghent Altarpiece</i> by Hubert and Jan Van Eyck, one of the iconic paintings of the west, has revealed that the designs of the paintings were changed several times, first by the original artists, and then during later restorations. The central motif, The Lamb of God, representing Christ, plays an essential iconographic role, and its depiction is important. Because of the prevalence of lead white, it was not possible to visualize the Van Eycks' original underdrawing of the Lamb, their design changes, and the overpaint by later restorers with a single spectral imaging modality. However, by using elemental (x-ray fluorescence) and molecular (infrared reflectance) imaging spectroscopies, followed by analysis of the resulting data cubes, the ","dates":{"release":"2020-01-01T00:00:00Z","publication":"2020 Jul","modification":"2025-04-03T22:39:40.49Z","creation":"2020-08-29T07:24:41Z"},"accession":"S-EPMC7439313","cross_references":{"pubmed":["32832690"],"doi":["10.1126/sciadv.abb3379"]}}