自1930年代以來，紅外成像已成為研究藝術品的重要工具。通過穿透繪畫的圖像層，不僅可以看到底稿，更能看見藝術家創作的過程與技術的使用。此項工具的使用被強調乃是因為技術的進步，如範·阿斯佩倫·德博爾（Van Asperen de Boer）於1966年所推出的「紅外反射成像」，以及自1975年來的專題研討會，如「繪畫中的基礎繪畫與技術」（Le dessin sous-jacent et la technologie dans la peinture），為與該主題相關的研究提供了發表和出版的空間。這類型的技術已被不同的學者應用在對幾位藝術家的研究中，特別是在關於佈局更改（pentimenti）、繪畫風格和歸因的議題上。舉例來說，我們找到的案例如聖母與羅琳大臣（The Virgin and Child with Chancellor Nicolas Rolin），該作品中的紅外成像技術可以直觀顯示揚·範·埃克（Jan van Eyck）所做的諸多改變，其中在圖像層與底稿中最顯著的發現便是在底稿上懸掛在大臣皮帶上的錢包，卻在畫作呈現的舞台上杳無蹤跡。這些類型的元素可以使人更好地了解藝術家的作品和使用技術的過程。儘管它是如此重要，目前卻尚未有人發表關於紅外成像的詳盡歷史記載。透過此項技術研究得最多的藝術家非揚·范·艾克（Jan van Eyck）莫屬，然而與他有關的大多數作品都被單獨或分成小組進行對待，導致對他的創作和技術過程缺乏更完整的視野，其中包括諸如他工作室的存在或哥哥休伯特·范·艾克（Hubert van Eyck）的干預等因素。本文分析了紅外成像技術在藝術品研究中的應用，重點研究了范·艾克集團的情況，其中包括對屬於該集團的30幅作品進行系統性分析，並識別每幅作品中的底稿，佈局更改和添加繪畫技術等特徵，主要目的是對於不同作品之間的變化或一致性水平提供一個概觀。

Since the 1930s, infrared imaging has become an important tool in the study of artworks. By penetrating the pictorial layer of paintings, it may allow underdrawing to be seen, as well as other aspects of the artist’s subsequent technical and creative processes, such as pentimenti. The use of this tool was enhanced by technological advances such as those of J.R.J. van Asperen de Boer, who in 1966 developed the technique of ‘infrared reflectography,’ and symposia such as Le dessin sous-jacent et la technologie dans la peinture, which since 1975 has provided a forum for the presentation and publication of interpretations of infrared imaging. Infrared imaging has been applied to the study of numerous artists, especially to analyze underdrawing style, pentimenti, and questions of attribution. The Virgin and Child with Chancellor Nicolas Rolin is an example of a painting in which infrared imaging reveals many changes made by Jan van Eyck in the course of its execution. One of the most notable changes found between the drawing and painting stages is the purse hanging from the Chancellor’s belt in the underdrawing, which was not carried through to the painting stage. This type of information allows insight into the technical process and iconographic intent of the artist. Despite its importance, a thorough historical account of infrared imaging seems not to have been published. Nevertheless, one artist whose work has been studied extensively through this technology is Jan van Eyck. However, even in this case, most of the works attributed to him, or his workshop, or circle, have been studied individually or in small groups, resulting in a lack of an overall understanding of his creative and technical processes, and insufficient attention to issues such as the contribution of individual workshop assistants, and of his brother Hubert. This thesis analyzes the use of infrared imaging in the study of artworks, focusing on the Van Eyck Group. It provides a systematic analysis of 30 works in the Group, identifying key characteristics in the underdrawing, pentimenti, and additive painting technique. The main objective is to provide an overview of the key characteristics, and level of consistency or variation in these features in the Group.

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