https://doi.org/10.1140/epjp/s13360-025-06445-3
Regular Article
Dendrochronological study of Van Goyen´s panels and preliminary study of its painting technique
1
Forest Research Centre (CEF), School of Agriculture, University of Lisbon, Lisbon, Portugal
2
HERCULES Laboratory, School of Sciences and Technology, Évora University, Largo Marquês de Marialva 8, 7000-809, Évora, Portugal
3
Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory IN2PAST, Évora, Portugal
4
City University of Macau Chair in Sustainable Heritage, University of Évora, Évora, Portugal
5
Museum Medeiros E Almeida, Rua Rosa Araújo 41, 1250-165, Lisbon, Portugal
6
ARTIS - School of Arts and Humanities, University of Lisbon, Lisbon, Portugal
7
Institute of Art History (IHA NOVA-FCSH), Colégio Almada Negreiros, Campus de Campolide da Nova, 1099-032, Lisbon, Portugal
8
National Costume Museum, Palácio Nacional da Ajuda, 1349-021, Lisbon, Portugal
9
Center for Art History and Artistic Research, University of Évora (CHAIA/UE), Largo Marquês de Marialva 8, 7000- 809, Évora, Portugal
10
Museums and Monuments from Portugal e.p.e., Palácio Nacional da Ajuda, Ala Sul, 1349-021, Lisbon, Portugal
11
José de Figueiredo Laboratory,Museums and Monuments From Portugal E.P.E., Palácio Nacional da Ajuda, Ala Sul, 1349-021, Lisbon, Portugal
12
ARTIS-FLUL, School of Arts and Humanities, University of Lisbon Alameda da Universidade, 1600-214, Lisbon, Portugal
a
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Received:
15
November
2024
Accepted:
17
May
2025
Published online:
18
August
2025
This research employs a comprehensive methodology integrating dendrochronology, and the technical and material study of the painting´s pigments, and stratigraphy to further enhance our understanding of materials and techniques of the Dutch landscape painter of the seventeenth century, Jan van Goyen (1596–1656). The scientific examination of the eight panels housed in Medeiros e Almeida Museum (Portugal, Lisbon) aims to identify the wooden panels utilized by Van Goyen’s workshop, exploring their assembly techniques and dates. Additionally, the integrated in situ approach also encompasses visible standard light photography, infrared reflectography and ultraviolet fluorescence photography imaging techniques and chemical analysis by energy-dispersive X-ray fluorescence and 2D macro-energy-dispersive X-ray fluorescence. The scientific results from the Village Scene, the earlier work known by Van Goyen in the collection, dated 1623, revealed that the artist executed an expressive underdrawing to set out the painting composition and applied a rich palette in the artistic expression, based on lead white, lead tin yellow, smalt blue, ochres, vermillion and a copper green pigment. This ongoing research provides a unique perspective on the relationship between materials and artistic intent in Van Goyen’s work, offering valuable insights into the broader cultural and historical context of Dutch painting of the period.
Supplementary Information The online version contains supplementary material available at https://doi.org/10.1140/epjp/s13360-025-06445-3.
© The Author(s) 2025
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