Oil paintings are complex, multi-layered systems that are prone to chemical degradation. While it is increasingly recognised that water plays an important role in these degradation reactions, little is known about moisture concentrations in oil paint systems and their temporal variation in response to fluctuating ambient air humidity. This knowledge is necessary to further preventive conservation, specifically to establish optimal environmental conditions to safeguard works of art for future generations. We developed a transient one-dimensional moisture transport model based on Fickian diffusion enabling the integration of experimentally recorded relative humidity data. Moisture sorption and transport data for painting materials have been reviewed from literature showing that each component of a painting has rather distinct properties. Including the properties of the individual layers enabled predicting the behaviour of a multi-layered painting system. A sensitivity study indicated that the response of a multilayer is determined by the combination of diffusion coefficients, isotherm shapes, maximum water contents, layer thicknesses, period of RH fluctuation and stacking order of the layers. Finally, the model was employed to investigate a case study of 18^th-century painted wall hangings in a historic house to illustrate the insights that can be gained from this approach and the types of conservation-related questions that can be answered.

The assessment of the structural condition of cultural heritage objects is important for conservation interventions and their long-term preservation. This investigation concerns The Night Watch (1642), a large-format 17^th-century canvas painting by Rembrandt van Rijn that is on display in the Rijksmuseum, Amsterdam. This painting, which has a complex treatment history, has various damaged areas and has undergone three wax-resin relinings. In 1975 the canvas was slashed twelve times with a serrated dinner knife, including several long slashes in the area of Captain Frans Banninck Cocq’s breeches. In 2021, prior to a proposed new structural intervention involving retensioning of the canvas, it was important to evaluate the structural condition of the repaired slashes and of another repair, specifically an old canvas insert in the drum. For this, an in-situ inspection was carried out in the Rijksmuseum as a part of Operation Nightwatch. 3D shearography instrument with thermal loading was used to inspect these two areas of interest on the reverse of The Night Watch. The results showed that the out-of-plane strain in the breeches does not show any large deviations, which alleviated conservators’ concerns about the adhesion of the lining canvas and stability of previous repairs in this region. The patch in the drum showed higher out-of-plane strain variations. This was explained by the lower quality of the patched canvas compared to the repaired slashes in the breeches of Banninck Cocq. Overall, 3D shearography provided valuable inspection results for assurances regarding the structural integrity of the 1975 repairs and the wax-resin lining in The Night Watch, reducing the risks and providing the confidence to proceed with the planned retensioning of the canvas.

Johannes Vermeer (1632–1675) is known for his brilliant blue colours, and his frequent use of the costly natural ultramarine. This paper reveals new findings about ultramarine in the headscarf of Girl with a Pearl Earring (c. 1665, Mauritshuis). The painting was examined using a range of micro- and macroscale techniques as part of the Girl in the Spotlight research project (2018). Analysis of micro-samples mounted as cross-sections using SEM–EDX and FTIR-ATR showed that Vermeer used high-quality ultramarine in the blue headscarf, based on the relative abundance of bright blue particles of lazurite. Analysis with synchrotron sulphur K-edge XANES suggested that the ultramarine pigment was prepared—at least in part—from a heat-treated lapis lazuli rock. The entire painting was imaged using MS-IRR, MA-XRF, RIS, and digital microscopy to reveal the distribution of materials of the headscarf, and to give more insight into Vermeer’s painting process. The shadow part of the headscarf has a remarkably patchy appearance, due to paint degradation that is probably related to the large amounts of chalk Vermeer mixed in the ultramarine paint in this area. The question was raised as to whether extra chalk was added deliberately to the paint to adjust the handling properties or opacity, or whether the chalk was the substrate of a—now faded—yellow lake. Schematic paint reconstructions were made to investigate the effect of the addition of chalk or yellow lake on the paint properties. The analyses and reconstructions led to the hypothesis that the blue headscarf originally contained a wider range of different blue colour shades: an opaque light blue for the left (lit) zone, a slightly brighter opaque blue for the middle zone, and a deep dark blue-green glaze with alternating blue-green glazing brushstrokes for the shadow zone—now largely compromised by paint degradation.

Rembrandt (1606–1669) is renowned for his impasto technique, involving his use of lead white paint with outstanding rheological properties. This paint was obtained by combining lead white pigment (a mixture of cerussite PbCO ₃ and hydrocerussite Pb ₃(CO ₃) ₂(OH) ₂) with an organic binding medium, but the exact formulation used by Rembrandt remains a mystery. A powerful combination of high-angle and high-lateral resolution x-ray diffraction was used to investigate several microscopic paint samples from four Rembrandt masterpieces. A rare lead compound, plumbonacrite (Pb ₅(CO ₃) ₃O(OH) ₂), was detected in areas of impasto. This can be considered a fingerprint of Rembrandt's recipe and is evidence of the use of an alkaline binding medium, which sheds a new light on Rembrandt's pictorial technique.