Media Contact
Following a two‑year investigation, the Rijksmuseum has confirmed the authenticity of “Vision of Zacharias in the Temple” and reattributed it to Rembrandt, using methods including macro X‑ray fluorescence (MAXRF), a nondestructive technique that maps a painting’s chemical elements.
Louisa Smieska
Staff Scientist - XLEAP
Louisa Smieska is co-chair of Cornell University’s Conservation Science EASL Working Group — an initiative that advances the study of cultural heritage objects using synchrotron (particle accelerator) X‑ray techniques.
Smieska says:
“Macro X-ray fluorescence (MAXRF) detects the chemical elements (like lead, iron, etc.) in artist pigments, which then lets researchers infer which pigments and mixtures were used. One thing the researchers look for is whether these pigments and mixtures, and the way the paints are handled, are similar to what’s been confirmed in Rembrandt’s palette.
“MAXRF is especially powerful in that when you visualize the different pigments in a painting, you can often see changes that the artist made while working that may not be visible in the finished image. Sometimes you see that features are moved or are even completely painted over. Being able to compare those idiosyncrasies of how the painting is constructed with other known Rembrandt works is important evidence for making attributions like this.
“The technique was originally only possible at synchrotron X‑ray sources. As the technology has improved, however, the measurement is increasingly available within museum collections, opening up possibilities for in‑depth comparative studies.”
