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Emma Marie Kummerfeldt QuiroaDoktorand

Om mig

I am a PhD candidate in Art History at the Department of Culture and Aesthetics, with particular focus on Technical Art History. I hold a Postgraduate Diploma in the Conservation of Easel Paintings from the Courtauld Institute of Art (University of London, 2013-2016), as well as a BA in History of Art/Archaeology and Japanese Studies from the School of Oriental and African Studies (University of London, 2010-2013). More recently I completed a two-year postgradaute fellowship at the Hamilton Kerr Institute (University of Cambridge, 2016-2018), where I worked with practical conservation and the technical analysis of paintings. My previous research includes a technical study of paintings by the Impressionist painter Alfred Sisley, which formed part of my postgraduate thesis. At the Hamilton Kerr Institute I was also involved in the conservation and technical examination of two largescale paintings by the Venetian artist Giovanni Antonio Canal ('Canaletto') through a collaboration with the Wallace Collection in London.  

As of spring 2020 I have also taken on the role of co-founder and co-editor for the new peer-reviewed journal Materia: Journal of Technical Art History. This biannual publication aims to be the first digital, open source journal devoted to the technical study of art objects. The first issue of Materia launched in June 2021. Information about the journal and our working group is also available via our website: 



My current research focuses on the technical analysis of paintings by nineteenth-century Swedish artists, in particular Anders Zorn. Through a collaboration with Riksantikvarieämbetet, Nationalmuseum, Thielska Galleriet, Prins Eugens Waldemarsudde, Göteborgs Konstmuseum and the Zornmuseum in Mora, I will be carrying out a series of non-invasive and invasive analytical methods in order to gain more information on these artists' use of materials and painting techniques. Some of the methods I will be using include multispectral imaging systems such as infrared and ultraviolet examination, as well as x-radiography. In order to determine the range of pigments used by the artists I will also be employing elemental analysis in the form of XRF (x-ray fluorescence) and cross-section analysis using SEM-EDX (scanning electron microscopy-elemental dispersive x-ray spectroscopy). Binding media will be examined through the analysis of cross-sections using FTIR (Fourier transform infrared spectroscopy).  

This research offers one of the first detailed technical studies of Swedish artists' painting techniques. Through using these methods I aim to provide a fresh perspective on how these artists worked and also how their techniques fit into the broader context of the European artistic climate of this period. With regards to Zorn, I am particularly interested to see how his choice of materials and paint application were influenced by his periods of residence in France, England and the United States. Follow my research on Instagram: @projectzorn

Supervisors: Prof. Sabrina Nordlander Eliasson and Assoc. Prof. Anna Bortolozzi




  • Jansson. E (2021) 'Reconsidering Anders Zorn's Omnibus Paintings', RIHA Journal, No. 0259, 2021, DOI:   
  • Jansson. E (2021) 'Towards a "Theory" for Technical Art History', Materia: Journal of Technical Art History, Vol. 1, Issue 1, pp. 66-72
  • Jansson. E (2019) 'Book review: A Changing Art, Nineteenth-Century Painting Practice and Conservation', Journal of the Institute of Conservation, DOI: 10.1080/19455224.2019.1617470 
  • Jansson. E, Young. C (2018) ‘Alfred Sisley’s Quiet Evolution’, Kermes: Journal of Conservation, No. 106, pp. 41-47
  • Jansson. E, Woodcock. S (2018) ‘The Most Azure Blue: Genuine Ultramarine, a Nineteenth-Century Pigment’, The Hamilton Kerr Technical Bulletin, No. 7 
  • Jansson. E, Polkownik. C (2018) ‘David Parr House: A Technical Study of the Materials and Techniques of the Wall Paintings’, The Hamilton Kerr Technical Bulletin, No. 7 
  • Jansson. E, Brown. A (2015) ‘Portrait of a Lady, or Portrait of Dona Joaquina Candado by a Follower of Francisco de Goya’, Painting Pairs: Art History and Technical Study, Courtauld Institute of Art Research Forum, text available at:


Presentationer & Konferenser

  • Conference Paper: 'A Pandemic Era Collaboration: Launching the new online publication Materia: Journal of Technical Art History', Across Distance: Cambridge AHRC International Conference, Cambridge University (digital conference), 15-18 September 2021
  • Public Lecture: 'Under ytan: Tekniska undersökningar av Anders Zorns oljemålningar', Nationalmuseivänner (digital lecture), Stockholm Nationalmuseum, 21 April 2021
  • Conference Paper: 'Making in Context: Reconsidering Anders Zorn's Oil Painting Practice', Heritage Science Forum 2020, Riksantikvarieämbetet (digital conference), 17-19 November 2020
  • Conference Paper: 'Temporality in Materials: Time, Place, Maker', Caput Mundi & Urbs Aeterna: Configurations of Time and the Human Body in the Art and Architecture of Premodern Rome, Graduate Student Conference, The Swedish Institute of Classical Studies in Rome, 31 October 2019
  • Conference Paper: 'Dirty Pictures: condition, material histories and their impact on viewer perception in paintings', Materiality? Material Culture? New Materialism?, Department of Culture and Aesthetics, Stockholm University, 28 May 2019
  • Conference Paper: 'The Materials and Techniques of Alfred Sisley', 35th Gerry Hedley Postgraduate Student Symposium, University of Cambridge, 5 June 2017 
  • Public Lecture: ‘The Treatment and Technical Analysis of the Society’s Parmentier Panel’, The Society of Antiquaries, February 11, 2016 London, United Kingdom, recorded lecture available at: