In this contribution, we present the first analytical study of the painting “Christ in Gethsemane” (from a parish church of the Assumption of the Blessed Virgin Mary in Żagań, Silesia, Poland) which attribution to Michael Willmann (1630–1706) has been questioned recently by art historians. After some preliminary non-invasive investigations, the painting was subjected to Macro XRF scanning. The further detailed study of micro-samples became essential although of limited scope since, given the painting's historical value, their number had to be strictly limited. The application of optical coherence tomography (OCT) allowed selecting areas of the original paint layer and collecting samples representative of the artist's technique. Further study analysis of the cross-sections stratigraphy using UV–VIS optical microscopy and SEM-EDS analysis supported the conclusions derived from MA-XRF images. All the results were compared with a reference database containing information about various painting materials used by M. Willmann during all his artistic periods which finally allowed for negative attribution of the painting to the master.

中文翻译：

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结合宏观 XRF、OCT 和采样技术对迈克尔·威尔曼 (Michael Willmann) 的画作进行鉴定研究

在这篇文章中，我们展示了对绘画“客西马尼园的基督”（来自波兰西里西亚 Żagań 的圣母升天教区教堂）的第一次分析研究，这幅画归功于迈克尔·威尔曼（1630-1706 年）最近受到艺术史学家的质疑。经过一些初步的非侵入性调查，这幅画进行了宏观 XRF 扫描。尽管范围有限，但对微观样本的进一步详细研究变得必不可少，因为鉴于这幅画的历史价值，它们的数量必须受到严格限制。光学相干断层扫描 (OCT) 的应用允许选择原始油漆层的区域并收集代表艺术家技术的样本。使用 UV-VIS 光学显微镜和 SEM-EDS 分析对横截面地层学的进一步研究分析支持了从 MA-XRF 图像得出的结论。所有结果都与包含 M. Willmann 在其所有艺术时期使用的各种绘画材料信息的参考数据库进行了比较，最终允许将这幅画归咎于大师。