Abstract Within the last decade, the established synchrotron- and laboratory-based micro-XRF scanning technology inspired the development of mobile instruments that allow performing in situ experiments on paintings on a macro scale. Since the development of the first mobile scanner at the start of this decade, this chemical imaging technique has brought new insights with respect to several iconic paintings, especially in cases when standard imaging techniques such as X-Ray Radiography (XRR) or Infrared Reflectography (IRR) yielded ambiguous results. The ability of scanning MA-XRF to visualise the distribution of elements detected at and below the paint surface renders this spectrometric method particularly helpful for studying painting techniques and revealing materials that remain hidden below the paint surface. The latter aspect is especially relevant for the technical study of works by Pieter Paul Rubens (1577–1640) as this highly productive seventeenth century master is particularly renowned for the continuous application of modifications during (and even after) the entire course of the creative process. In this work, the added value of MA-XRF scanning experiments for visualising these subsurface features is exemplified by interpreting the chemical images obtained on three of Rubens' key works. Special attention is given to three types of adjustments that are particularly relevant for the technical study of Rubens' oeuvre: (1) compositional changes (‘pentimenti’), exemplified by results obtained on The Portrait of Helene Fourment (ca. 1638), (2) extensions to the support (‘Anstuckungen’), illustrated by imaging experiments performed on the Venus Frigida (1614) and (3) Rubens' intriguing halos around flesh tones, as found amongst others in The Incredulity of Saint Thomas (1613). The ensuing insights in the paint stratigraphy and the underlying supporting structure illustrate the potential of MA-XRF scanning for the non-invasive, comparative study of Rubens' oeuvre. The results do not only augment the understanding of the complex genesis of Rubens' works of art and his efficient painting technique, but prove valuable during conservation treatments as well, as addressed in this paper.

中文翻译：

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原位宏观 X 射线荧光 (MA-XRF) 扫描作为一种非侵入性工具来探测 PP Rubens 的绘画中的亚表面修饰

摘要 在过去十年中，已建立的基于同步加速器和实验室的微 XRF 扫描技术激发了移动仪器的发展，这些仪器允许在宏观尺度上对绘画进行原位实验。自从本世纪初开发出第一台移动扫描仪以来，这种化学成像技术为几幅标志性画作带来了新的见解，尤其是在 X 射线射线照相 (XRR) 或红外反射成像等标准成像技术的情况下（ IRR) 产生了模棱两可的结果。扫描 MA-XRF 以可视化在油漆表面和下方检测到的元素分布的能力使这种光谱方法特别有助于研究油漆技术和揭示隐藏在油漆表面下方的材料。后一方面与彼得·保罗·鲁本斯（Pieter Paul Rubens，1577-1640 年）作品的技术研究尤其相关，因为这位 17 世纪高产的大师以在整个创作过程中（甚至之后）不断应用修改而闻名. 在这项工作中，通过解释从鲁本斯的三部关键作品中获得的化学图像，举例说明了 MA-XRF 扫描实验在可视化这些地下特征方面的附加价值。特别注意与鲁本斯作品的技术研究特别相关的三种类型的调整：（1）构图变化（'pentimenti'），以海伦福尔门的肖像（约1638年）中获得的结果为例，（ 2）扩展支持（'Anstuckungen'），通过在金星 Frigida (1614) 和 (3) 鲁本斯围绕肤色的迷人光环进行的成像实验说明了这一点，如在《圣托马斯的怀疑》(1613) 中发现的那样。随后对油漆地层和底层支撑结构的深入了解说明了 MA-XRF 扫描对鲁本斯作品的非侵入性比较研究的潜力。结果不仅增强了对鲁本斯艺术作品的复杂起源及其高效绘画技术的理解，而且在保护处理过程中也证明是有价值的，如本文所述。随后对油漆地层和底层支撑结构的深入了解说明了 MA-XRF 扫描对鲁本斯作品的非侵入性比较研究的潜力。结果不仅增强了对鲁本斯艺术作品的复杂起源及其高效绘画技术的理解，而且在保护处理过程中也证明是有价值的，如本文所述。随后对油漆地层和底层支撑结构的深入了解说明了 MA-XRF 扫描对鲁本斯作品的非侵入性比较研究的潜力。结果不仅增强了对鲁本斯艺术作品的复杂起源及其高效绘画技术的理解，而且在保护处理过程中也证明是有价值的，如本文所述。