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15
examinationsresultswasconsultedwithKarinGroenfromtheNetherlandsInstitutefor
CulturalHeritage,anothercollaboratoroftheR.R.P.
Thefollowingtypesofexaminationswerecarriedout:observationinvisible(day)
light;normal,raking,reflectedlightandmacrophotography;IRexamination;UV–in-
ducedluminescenceofpaintlayers;X-rayexamination27;identificationofwoodenpan-
els28;stratigraphicanalysisandexaminationofpigments,fillersandbindersinsamples
fromthepaintings;microscopicandmicrochemicalanalysis;analysisoncross-sections
withaLMA10lasermicrospectralanalyzerwitharubylaser29;microscopicandmicro-
chemicalanalysisrealizationofscansandspectraimageswiththeSEM-EDSmethod;
examinationofpaintlayerbinderswithGC-MSandFT-IRasacomplementarytech-
niqueIRabsorptionspectrophotometryandgaschromatographyinconnectionwithgas
spectrography30.
BothRembrandt’spaintingsareexecutedonpoplarpanels.Thiskindofwoodis
nottypicalforRembrandt,whomostlypaintedonoakboardswithsomeexceptions
(i.e.orientaltypesofwood).TheRembrandtResearchProjectrecordsthreeRembrandt
paintingsonpoplarpanelsofsimilarsizeandwithinthesameperiodoftime:Marie
Trip’sportrait,1639,107×82cm,Rijksmuseum,Amsterdam;Agirlinaveil,c.1640
(or1643),62,2×48,9cm,NationalGalleryofArt,Washington;andPortraitofAnnaWi-
jmer,1641,99,5×81,5cm,Rijksmuseum,Amsterdam31.Therefore,theWarsawpaint-
ingsaretwoofthefivepaintedonpoplarpanels.Itispossiblethatca1639or1640,while
fascinatedwithcontemporaryandearlierVenetianportraits,thepainterboughtpoplar
panelsfornewportraitcompositions.
Bothpanelsaresingle-piecepoplarboards(Populussp.)Themanneroftheboards’
preparationshowsthatthewoodwascutradiallynearthecore.Thewoodcomesfrom
fast-growingtrees,whoseannualgrowthreaches10mm.Thedimensionsoftheboard
pointtoatreeofadiameterofca90–100cmandatleast60yearsofage.Thesespecies
oftreedonotallowdendrochronologicaldating.
Thegrainofbothboardsrunsverticallyandtheirbacksarebeveledonallfoursides;
thicknessvariesfrom20to16mm(Girl)and14to19mm(Scholar).
27
Photographicdocumentationandphysicalexaminationwereperformedby:WarsawRoyalCas-
tle,PhotographicAgencyOrlęta,M.Bronarski,P.Kobek,PhotographicStudioAR,A.Ring,B.Tro-
pilo(1995,2005–2006),J.RutkowskiPhD,FacultyofConservationandRestorationofWorksofArt,
AcademyofFineArtinCracow(1995–1997),P.RudniewskiMAandphotographR.Stasiuk,Faculty
ofConservationandRestorationofWorksofArt,AcademyofFineArtinWarsaw(1995–1997,2005).
28
T.WażnyPhD,FacultyofConservationandRestorationofWorksofArt,AcademyofFineArts
inWarsaw.
29
M.Rogóż,op.cit.;A.Nowicka,I.Zadrożna,op.cit.
30
Theinstrumentalanalysis–binderanalysiswasperformedusing(GC-MS)and(FTIR)as
acomplementarytechnique:I.ZadrożnaPhD,FacultyofConservationandRestorationofWorksof
Art,AcademyofFineArtsinWarsawandFacultyofChemistryofWarsawUniversityofTechnology;
SEM-EDS(scanningelectronmicroscopywithenergydispersivesystem):M.WróbelMA,Instituteof
HydrogeologyandEngineeringGeology,WarsawUniversity.
31
RembrandtResearchProjectconstitutesthenexttwoexamplesbutdefiningthekindsofwood
isnotclear.SeealsoD.Juszczak,H.Malachowicz,op.cit.,p.413–414.
