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Laser desorption mass spectrometric studies of artists' organic pigments.
Wyplosz, N.
Publication date
2003
Link to publication
Citation for published version (APA):
Wyplosz, N. (2003). Laser desorption mass spectrometric studies of artists' organic pigments.
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Dankwoord d
MERCII to my wonderful mass spectrometry team at AMOLF: Oscar van denn Brink, Gisela van der Doelen, Klaas-Jan van den Berg, Ivana Pastorova, Inez vann der Werf, Georgiana Languri, Sophie Peulvé, Sander Koster, Ahmed Al-Khalili,, Xinghua Guo, Jaap van der Weerd, Katrien Keune, Stefan Luxembourg, Petee O'Connor, Prof. Dr. J.R.J, van Asperen-de Boer, Wim Muizebelt, Piet Kistemaker,, Beatrice Marino, Dominique Scalarone, Vincent Klap, Janine de Maaijer,, Tina Weeding, Liz Minor, Marcel Janson, Gerard van Rooij, René Koper, Theoo van Diepen, Oscar van Hoof, Ken Sutherland, Petra Novotna. Special thanks too Jorrit van den Berg, my ever present neighbour in the crowded kippenhok room forr your long-lasting camaraderie.
Att first, I would naturally like to express my gratitude to my promotor Jaap Boon,, who has been undoubtedly the cornerstone and ever-present motor of the MOLARTT project as a whole. Without your knowledge, dedication and enthusiasm forr conservation sciences this vast inter-disciplinary venture would never have beenn possible. I owe you a special expression of thanks for your expertise, intellectuall input and guidance throughout the writing of this thesis.
II am also deeply grateful to my co-promotor Ron Heeren for supervising thee research discussed in these pages. His enthusiasm for mass spectrometry has beenn always highly inspiring.
Bigg thanks to Gert Eijkel, Jerre van der Horst, Annebeth Kraij-Kerkhoff, Joss Pureveen, Leo Spetter, Ad de Snaijer and Hans Zeijlenmaker for your craftsmanshipp and wizardry in solving all technical problems. Extra thanks to Marc Duursma,, the best technician on earth, for your continuing enthusiasm and assistance. .
Manyy thanks go out to the "inter-disciplinary" colleagues of the MOLART groupp who greatly contributed to the interest of the job. To the AMOLF people: Muriell Geldof, Alan Phenix, Lidwien Speleers and Linda Hartgring. To the people att SRAL in Maastricht: René Hoppenbrouwers, Hélène Dubois, Mireille te Marveldee and Anne van Grevenstein. Big thanks also to Renate Keller and Leslie Carlylee for your great contribution to the SRAL workshops. To the ICN people, especiallyy Karin Groen and René Huigen. To the indigo expert Margriet van Eikemaa Hommes. To the Mauritshuis conservators Petria Noble and Jorgen Wadum.. To the museum fellows Arie Wallert (Rijksmuseum), René Boitelle (Van Goghh museum) and Sibylle Schmitt (KöTnisches Stadtmuseum). Thanks to Anita Quyee and Jana Novotna for providing samples.
Dankwoord Dankwoord
Manyy thanks to the countless people at AMOLF for your great help and for thee inspiring scientific discussions. Thanks to all for your intuitive understanding off my imperfect Dutch.
Manyy thanks to the members of the doctorate commission, in particular Jan Wouterss and Steen Ingemann for your time and expert assistance during the writingg of the thesis. Thanks to Ester Ferreira for reading the final text, Mark Clarkee and Nicole de Waal for editing this book, your help is deeply appreciated.
II am very grateful to the ICCROM people for the course on Conservation Sciencess in 1995 in Paris. To the NVMS people (Dutch society of mass spectrometry)) for the great job they do organizing conferences and especially for supportingg my trip to Barcelona for the IMSC.
Thee most special thanks to Charles Tumosa and Marion Mecklenburg for invitingg me to the Conservation Analytical Laboratory of the Smithsonian Institutionn back in the summer of 1993. My internship in Washington, D.C. was thee experience of a lifetime. Also special thanks to my long-time friends Francois andd Francine Péquignot (Musée des Beaux-Arts de Strasbourg) for their crucial encouragementss to enter the fascinating world of conservation sciences. My sincerestt gratitude to Stefan Wiilfert for the great time I had at the Schweizerisches Institutt fur Kunstwissenshaft in Zurich in 1994, and my warmest thanks to the skilfull and passionate team of restorers of the SIK. Also big thanks to Joyce Townsend,, Stephen Hackney and Tom Learner for the grand time I had at the Tate Galleryy in 1995 and their brilliant work. Many thanks to the many other very knowledgeablee "Taters" I had the privilege to meet.
Myy thanks go finally to my parents Julien and Paule, to my brothers Benjaminn and Jonathan, and to Christine and Orane for your love and support.
