Contents: Introduction: Perspectives on the evolution of science for art history and conservation, and its current state. Part I - Grounds and binding media - Chapter 1 - Halcyon days for art history - Chapter 2 - Grounds in Rembrandt's workshop and in paintings by his contemporaries - Chapter 3 - Earth Matters. The origin of the material used for the preparation of the Night watch and many other canvases in Rembrandt's workshop after 1640 - Chapter 4 - In the beginning there was red - Chapter 5 - Investigation of the use of the binding medium by Rembrandt. Chemical analysis and theology. Part II - Changing colours - Chapter 6 - Towards identification of brown discolouration on green paint - Chapter 7 - 'Towards identification of brown discolouration on green paint' revisited - Chapter 8 - 'The foliage tends almost to blue' - Chapter 9 - Scanning electron-microscopy as an aid in the study of blanching. Part III - Study of painting techniques - Chapter 10 - Frans Hals: a technical examination (Co-author: Ella Hendriks) - Chapter 11 - Judith Leyster: a technical examination of her work (Co-author: Ella Hendriks) - Chapter 12 - Scientific examination of Vermeer's Girl with the Pearl Earring (Co-authors: Inez van der Werf, Klaas Jan van den Berg and Jaap J. Boon)

Summary: This volume to be published in August 2014 reflects and celebrates the life of Karin Groen (1941-2013) and her work in the scientific examination of paintings. It contains a selection of her ground breaking articles published in this field over the past decades, and will continue to be a source of inspiration for a new generation of scientists, restorer-conservators and art historians. She was particularly involved in the Rembrandt Research Project, systematically examining Rembrandt's paintings and the knowledge she gleaned of the composition and build-up of (quartz) ground layers provided useful additional information for the attribution of paintings to Rembrandt and his workshop. Her methods, in which paintings are examined in close collaboration between the scientist and the restorer-conservator, always focussed on the question 'How did the artist do it?'. This book includes studies not only on paintings by Rembrandt but also on those painted by Frans Hals, Judith Leyster and Johannes Vermeer as well as studies of changes in painter’s materials, such as the pigments in Dutch still-life paintings, and in works by Lucas Van Leyden, Claude Lorrain and others.

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