ࡱ> TVQRS bjbj!! D(C_C_&1,,,8d|!,@Jd""4,#,#,#$PW$s$0@2@2@2@2@2@2@$CDFjV@]$$$$$V@,#,#@#7#7#7$,#,#0@#7$0@#7#777@-9K47@@0@7cGO6cG77cG9p$$#7$$$$$V@V@7"$$$@$$$$cG$$$$$$$$$X : Curriculum Vitae Prof. dr. Ron Spronk Professor of Art History Department of Art History and Art Conservation Ontario Hall, Room 322 67 University Avenue Kingston, Ontario Canada K7L 3N6 T: 613 533-6000, extension 78288 F: 613 533-6891 E: HYPERLINK "mailto:spronkr@queensu.ca"spronkr@queensu.ca Degrees: Ph.D., Groningen University, Netherlands, Department of History of Art and Architecture, 2005. Dissertation: Examining Materials and Techniques of Easel Paintings: Ten Technical Studies (19962005). Doctoral Candidacy, Indiana University, Bloomington, IN, USA, Art History Department, 1994. Masters degree equivalent (Dutch Doctoraal Diploma), Groningen University, Netherlands, Department of History of Art and Architecture, 1993. Current affiliation: Since 2007: Professor of Art History (tenured), Department of Art History and Art Conservation, 鶹s University, Kingston, Ontario, Canada (Department Head 20072010; Chair of Graduate Studies 20192020, 20212022). Employment history: 20102023: Jheronimus Bosch Special Chair (0.2 FTE), Radboud University, Nijmegen, Netherlands. 2006-2007: Research Curator, Straus Center for Conservation and Technical Studies, Harvard Art Museum, Cambridge MA, USA. 2005-2007: Lecturer on History of Art and Architecture, Department of History of Art and Architecture, Harvard University, Cambridge, MA, USA. 1999-2006: Associate Curator for Research, Straus Center for Conservation and Technical Studies, Harvard Art Museum, Cambridge MA, USA. 2004: Lecturer, Department of History of Art and Architecture, Groningen University, Netherlands. 1997-1999: Research Associate for Technical Studies, Straus Center for Conservation and Technical Studies, Harvard Art Museum, Cambridge MA, USA. 1996-1997: Andrew W. Mellon Research Fellow, Straus Center for Conservation and Technical Studies, Harvard Art Museum, Cambridge MA, USA. 1995-1996: Special Conservation Intern, Straus Center for Conservation and Technical Studies, Harvard Art Museum, Cambridge MA, USA. 1994-1995: Curatorial Intern, Department for Paintings, Sculpture and Decorative Arts, Harvard Art Museum, Cambridge MA, USA. 1993-1994: Research Assistant, Art History Department, Indiana University, Bloomington, IN, USA, and Netherlands Institute for Art History (RKD), The Hague, Netherlands; Associate Instructor, Art History Department, Indiana University, Bloomington, IN, USA. 1991: Trainee, Old Masters Department, Museum Boijmans Van Beuningen, Rotterdam, Netherlands. Honours and fellowships: 2019: ARTDas KunstmagazinKuratorenpreis 2018 (ART Magazine Curator Award) for Bruegel, with Elke Oberthaler, Sabine Pnot and Manfred Sellink. 2017: European Union/Europa Nostra Grand Prix (Research) in Cultural Heritage for Bosch Research and Conservation Project (with BRCP colleagues). 2009 onwards: Foreign Member, Royal Flemish Academy of Belgium for Science and the Arts. 2008: Finalist, Alfred H. Barr Jr. Award for museum scholarship for: Prayers and Portraits; Unfolding the Netherlandish Diptych (with John O. Hand and Catherine Metzger). 2007: Art Libraries Society of North America George Wittenborn Memorial Book Award for: Prayers and Portraits; Unfolding the Netherlandish Diptych (with John O. Hand and Catherine Metzger). 2002: College Art Association/Heritage Preservation Joint Award for Distinction in Scholarship and Conservation for: Mondrian: The Transatlantic Paintings (with Harry Cooper). The 1996-97 Samuel H. Kress Foundation Graduate Fellowship for Art Historical Study Using Infrared Reflectography. The 1992-93 Samuel H. Kress Foundation Graduate Fellowship for Art Historical Study Using Infrared Reflectography. Scholarly and professional activities (current): Since 2022: Member, Scientific Advisory Board Decoding Memling, Municipal Museums, Bruges. Since 2019: Member, Scientific Advisory Board Dendro4Art, RKD, The Hague. Since 2018: Member, Digital Projects Advisory Group, Journal of Historians of Netherlandish Art. Since 2016: Member, Scientific Advisory Committee Mondrian Edition Project, RKD, The Hague. Since 2014: Member, Scientific Advisory Committee Van Eyck Research in Open Access (VERONA), Brussels. Since 2013: Member, International Committee for the conservation of the Ghent Altarpiece. Since 2013: Project director, QU-MoLTAH (鶹s University Mobile Laboratory for Technical Art History). Since 2012: Project coordinator, Closer to Van Eyck; Restoring the Ghent Altarpiece. Scholarly and professional activities (past): 2020-2023: Conference co-organizer and conference chair, Defining boundaries: Jheronimus Bosch, his workshop, and his followers (11-13 May 2023, s-Hertogenbosch, Jheronimus Bosch Art Center). 2010-2023: Member, Scientific Committee Studiecentrum Vlaamse Primitieven, KIK/IRPA, Brussels. 2008-2023: Member, Advisory Committee for the conservation of the Ghent Altarpiece. 2018-2020: Member Advisory Board for the publication The Ghent Altarpiece, Research and Conservation of the Exterior (Contributions to the Study of the Flemish Primitives, 14), Brussels 2020. 2010-2020: Member, Bosch Research and Conservation Project. 2009-2020: Member, Scientific Committee Bosch Research and Conservation Project. 2015-2020: Member, Scientific Advisory Board IPERION-CH (Integrated Project for the European Research Infrastructure on Cultural Heritage). 2012-2019: Member, Committee of Scientific Advisors CATS (Center for Art Technological Studies), Copenhagen. 2011-2019: Member, Certification Committee Conservation and Restoration, University of Amsterdam. 2014-2019: Co-curator, Bruegel (Kunsthistorisches Museum, Vienna, October 2, 2018 January 13, 2019. 2018: Co-organizer, International Study Day Ghent Altarpiece September 11, 2018. 2018: Session Co-Chair, Towards a Historiography for Technical Art History, Historians of Netherlandish Art Conference, Ghent (Ghent University). 2016-2018: Member, Program Committee, Historians of Netherlandish Art Conference, Ghent (Ghent University). 2015-2016: Conference co-organizer and conference chair, Jheronimus Bosch: His Life and His Work (14-16 April 2016, s-Hertogenbosch, Jheronimus Bosch Art Center). 2015: Session Chair Digital Art History, Arbeitskreis fr Niederlndische Kunst- und Kulturgeschichte, Bonn and Cologne. 2014-2016: Member, Scientific Advisory Committee VERONA (Van Eyck Research in Open Access. 2014-2016: Member, Scientific Working Group NICAS (Netherlands Institute for Conservation, Art & Science). 2014: Organizer and Chair, Archiving Large Image Files for Cultural Heritage, a 2-day international workshop (s-Hertogenbosch, Jheronimus Bosch Art Center). 2014: Workshop Organizer and Co-Presenter, An Interactive Exploration of New Visualization Techniques from the Bosch Research and Conservation Project, Historians of Netherlandish Art Conference Program Committee (Boston University). 2014: Sessions Co-Chair Technical Art History part I and Technical Art History part II, Historians of Netherlandish Art Conference Program Committee (Boston University). 2014: Invited Participant, A new Model for Scientific Research on Cultural Heritage, Joint US-NL Workshop on Integrated Collaborative Research on Technical Art History, Conservation, and Scientific Research (New York, Metropolitan Museum of Art). 2013-2015: Co-organizer, The Panel Paintings by Pieter Bruegel the Elder in the Kunsthistorisches Museum Vienna; Technical Study and Survey of their Structural Condition. 2013-2014: Member, Scientific Committee 2nd CATS conference Technology and Practice: Studying 18th-century Painting and Art on Paper (Copenhagen 2014). 2013-2014: Co-organizer: Ghent Altarpiece International Study Day (Ghent: Ghent University, St. Bavos Cathedral, Museum voor Schone Kunsten, Provinciaal Cultureel Centrum Caemersklooster) 2013-2014: Member, Historians of Netherlandish Art Conference Program Committee (Boston University) 2013: Session Chair, Painting Techniques; History, Materials, Studio practice (Amsterdam, Rijksmuseum). 2013: Session Chair, New Directions in the Study of Rembrandt and his Circle (鶹s University International Study Center, Herstmonceux Castle, England). 2013: Invited participant, New Technologies for Art Conservation and History (Wassenaar, Netherlands, Netherlands Institute for Advanced Studies). 2013: Member, Advisory Group Cultures of Conservation (New York, Bard College). 2012-2013: Member, Scientific Committee, Painting Techniques; History, Materials, Studio practice (Amsterdam, Rijksmuseum). 2012-2013: Co-organizer, New Directions in the Study of Rembrandt and his Circle (鶹s University International Study Center, Herstmonceux Castle, England). 2011-2014: Consultant, McMaster Museum of Art and the Department of Medical Physics and Applied Radiation Sciences, McMaster University. 2010-2012: Member, Conference Organization Committee Jheronimus Bosch; His Patrons and his Public (s-Hertogenbosch, Jheronimus Bosch Art Center). 2010-2012: Member, Conference Organization Committee Colloquium Van Eyck Studies (Brussels 2012). 2010-2011: Member, Scientific Committee 1st CATS conference (Copenhagen 2012). 2010-2012: Project coordinator, Closer to Van Eyck; Rediscovering the Ghent Altarpiece, a comprehensive web application for the technical documentation of the Ghent Altarpiece. 2008-2011: Project co-leader and coordinator technical examinations, Lasting Support: An interdisciplinary research project to assess the structural condition of the Ghent Altarpiece (with Anne van Grevenstein). 2008-2010: Member, Chancellor Richardson Memorial Fund Advisory Committee, 鶹s University. 2007-2010: Member, Advisory Board, Agnes Etherington Art Centre, 鶹s University. 2006-2012: Consultant and researcher, Rijksdienst voor het Cultureel Erfgoed (RCE) and Gemeentemuseum Den Haag, for research project on Piet Mondrians Victory Boogie Woogie. 2005-2009: Board member, Historians of Netherlandish Art. 2005-2006: Member, Historians of Netherlandish Art Conference Program Committee for From Icon to Art in Netherlands, Washington, D.C./Baltimore, MD, November 8-12, 2006. 2004-2009: Member, Website Committee Curators of Dutch Art (CODART). 2003-2004: Member, advisory committee for the implementation of a meta-database for technical examination for the Instituut Collectie Nederland (ICN), Amsterdam. 2001-2007: Co-curator, Exh. Prayers and Portraits; Unfolding the Early Netherlandish Diptych. Harvard University Art Museums, Cambridge, MA, the National Gallery of Art, Washington D.C., and the Royal Museum for Fine Arts, Antwerp. 2001-2007: Organizer, coordinator and primary investigator, collaborative research project Early Netherlandish Diptychs: Form, Function & Production. 2001: Organizer and co-chair, Digital Imagery for Works of Art, a two-day workshop at the Harvard University Art Museums, Cambridge, MA, initiated and sponsored by the Andrew W. Mellon Foundation and the National Science Foundation. 2001: Co-organizer, M. Victor Leventritt Symposium Modern Art in the Laboratory. Harvard University Art Museums, Cambridge, MA. 1999-2001: Co-curator, Exh. Mondrian: The Transatlantic Paintings. Harvard University Art Museums (Busch-Reisinger Museum), Cambridge, MA, and Dallas Museum of Art, Dallas, TX. 1998: Organizer, co-instructor, Infrared Reflectography Summer Workshop. Straus Center for Conservation, Harvard University Art Museums, Cambridge, MA. 1996: Organizer, M. Victor Leventritt Symposium Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations, and Perspectives, Harvard University Art Museums, Cambridge, MA. 1996-2003: Member, advisory committee on infrared reflectography for the Dutch Institute of Art History (RKD), The Hague. 1994: Co-organizer, Exh. Professional Printmaking in the 16th Century Netherlands, Indiana University Art Museum, Bloomington, IN. 1991: Co-curator, Exh. Jan Worst, Schilderijen 1988-1991, Groningen University, Department of History of Art and Architecture. Selected university administrative responsibilities at 鶹s University: 2023-2024: Member, Presentations Committee (Department of Art History and Art Conservation) 2022-2023: Chair, Curriculum Committee (Department of Art History and Art Conservation) 2021-2022: Chair of Graduate Studies. 2019-2020: Chair of Graduate Studies. Since 2013: Director and PI, 鶹s Universitys Mobile Laboratory for Technical Art History (QU-MoLTAH). 2010-2013: Member, Senate Advisory Research Committee for Fine Arts and Humanities. 2008-2010: Member, Building Committee Isabel Bader Centre for the Performing Arts. 2007-2010: Department Head; Member, Committee of Departments and Faculty Board, Faculty of Arts and Science, 鶹s University. Undergraduate teaching: Department of Art History and Art Conservation, 鶹s University: 2023-2024: ARTH210 (Introduction to Technical Art History); ARTH402 (Studies in Renaissance Painting Technique). 2022-2023: ARTH210 (Introduction to Technical Art History); ARTH374 (16th c. Early Netherlandish Painting); ARTH402 (Studies in Renaissance Painting Technique). 2019-2020: ARTH210 (Introduction to Technical Art History); ARTH374 (16th c. Early Netherlandish Painting); ARTH402 (Studies in Renaissance Painting Technique). 2018-2019: ARTH210 (Introduction to Technical Art History); ARTH402 (Studies in Renaissance Painting Technique). 2017-2018: ARTH375 (Early Netherlandish Painting). 2016-2017: ARTH375 (Early Netherlandish Painting); ARTH402 (Studies in Renaissance Painting Technique). 2015-2016: ARTH375 (Early Netherlandish Painting); ARTH402 (Studies in Renaissance Painting Technique). 2014-2015: ARTH375 (Early Netherlandish Painting); ARTH402 (Studies in Renaissance Painting Technique). 2013-2014: ARTH395 (Internship). 2012-2013: ARTH375 (Early Netherlandish Painting); ARTH402 (Studies in Renaissance Painting Technique). 2011-2012: ARTH375 (Early Netherlandish Painting). 2009-2010: ARTH402 (Studies in Renaissance Painting Technique). 2008-2009: ARTH395 (Internship); ARTH402 (Studies in Renaissance Painting Technique). 2007-2008: ARTH402 (Studies in Renaissance Painting Technique). Department of Art History, Radboud University Nijmegen: 2014-2015: KGBA275 (Materials and Techniques in Early Netherlandish Painting). 2013-2014: KGBA275 (Materials and Techniques in Early Netherlandish Painting). Department of History of Art and Architecture, Groningen University: 2003-2004: LKX009P05 (Introduction to Materials and Techniques); LKX005B05 (Technical Examination in the Visual Arts). Graduate teaching: Department of Art History and Art Conservation, 鶹s University: 2023-24: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch) 2022-23: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch) 2021-2022: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch); ARTH897 (Directed Reading). 2019-2020: ARTH807 (Studies in the History of Renaissance Painting Technique; Pieter Bruegel the Elder). 2018-2019: ARTH844 (Topics in Northern Renaissance Art; Pieter Bruegel the Elder. Largely taught at the Kunsthistorisches Museum, Vienna). 2017-2018: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch). 2016-2017: ARTH890 (Directed Research in a Cultural Institution); ARTH897 (Directed Reading); ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch). 2015-2016: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch); ARTH890 (Internship); ARTH897 (Directed Reading). 2014-2015: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch). 2013-2014: ARTH807 (Studies in the History of Renaissance Painting Technique; Hieronymus Bosch); ARTH897 (Directed Reading). 2011-2012: ARTH807 (Studies in the History of Renaissance Painting Technique; the Ghent Altarpiece); ARTH897 (Directed Reading). 2009-2010: ARTH897 (Directed Reading). Department of Art History, Radboud University, Nijmegen (* in collaboration with the Onderzoekschool Kunstgeschiedenis, the national Graduate School of the Netherlands): 2022-2023*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2021-2022*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2020-2021*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2019-2020*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2018-2019*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2017-2018*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2016-2017*: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2015-2016: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2014-2015: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2013-2014: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2012-2013: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2011-2012: KGM577 (Materials and Techniques in Early Netherlandish Painting). 2010-2011: KGM577 (Materials and Techniques in Early Netherlandish Painting). Selected research funding (since 2007): 2013-2024: The Getty Foundation, 143,000 for Even Closer to Van Eyck. 2013-2026: Gieskes Strijbis Fonds, 143,000 for Even Closer to Van Eyck. 2015-2025: Canada Foundation for Innovation, Infrastructure Operating Fund, $23,134 for QU-MoLTAH: Queen s University Mobile Laboratory for Technical Art History. 2014-2018: Canada Foundation for Innovation, Ontario Research Fund, and Queen s University, $385,560, for QU-MoLTAH: Queen s University Mobile Laboratory for Technical Art History. 2013-2016: The Getty Foundation, 175,000 for Bosch on Line (with other BRCP team members). 2011-2014: Parnassus Foundation, $25,000 for Hieronymus Bosch Drawings Project. 2011-2012: Getty Foundation and Netherlands Organisation for Scientific Research (NWO), 71,000, for Closer to Van Eyck; Rediscovering the Ghent Altarpiece. 2010-2011: The Getty Foundation, 172,000, for Lasting Support: A proposal for an interdisciplinary research project to assess the structural condition of the Ghent Altarpiece. 2007-2011: Queen s University, Faculty of Arts and Sciences, $12,000 pa, research. 2007: 鶹s University, Faculty of Arts and Sciences, $107,000, research. Publications (books): Alice Hoppe-Harnoncourt, Elke Oberthaler, Sabine Pnot, Manfred Sellink and Ron Spronk (eds), Bruegel, The Hand of the Master, The 450th Anniversary Edition; Essays in Context, Veurne (Hannibal) 2019. Matthijs Ilsink, Jos Koldeweij and Ron Spronk, Exh. Cat. From Boschs Stable; Hieronymus Bosch and the Adoration of the Magi, s-Hertogenbosch (Het Noordbrabants Museum), 2018; also published in Dutch. Elke Oberthaler, Sabine Pnot, Manfred Sellink and Ron Spronk, with Alice Hoppe-Harnoncourt, Exh. Cat. Bruegel, The Hand of the Master, Vienna (Kunsthistorisches Museum) 2018. Trade editions published in Dutch (Hannibal), English (Thames and Hudson) and German (Prestel). Elke Oberthaler, Sabine Pnot, Manfred Sellink and Ron Spronk, with Alice Hoppe-Harnoncourt, E-book, Bruegel, The Hand of the Master Essays, Vienna (Kunsthistorisches Museum) 2018; published in English and German. Matthijs Ilsink, Jos Koldeweij, Ron Spronk, Luuk Hoogstede, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap and Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman, Catalogue Raisonn, 2016. In four language editions: English (Brussels, New Haven and London), Dutch (Brussels), German (Stuttgart), and French (Flers-en-Escrebieux). Luuk Hoogstede, Ron Spronk, Robert G. Erdmann, Rik Klein Gotink, Matthijs Ilsink, Jos Koldeweij, Hanneke Nap and Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman, Technical Studies, Brussels, New Haven and London 2016. Maarten van Bommel, Hans Janssen and Ron Spronk (eds), Inside Out Victory Boogie Woogie, Amsterdam and Chicago 2012. (Dutch edition: Maarten van Bommel, Hans Janssen en Ron Spronk (red), Victory Boogie Woogie Uitgepakt, Amsterdam 2012. Ron Spronk, Eigenhandig? Opmerkingen bij de schildertechniek en toeschrijvingsproblematiek bij Jheronimus Bosch / All by Himself? Remarks on painting technnique and attributions in regard to Hieronymus Bosch, Nijmegen 2011 (Nijmeegse Kunsthistorische Cahiers, 17) John O. Hand, Catherine Metzger and Ron Spronk, Prayers and Portraits; Unfolding the Netherlandish Diptych, Washington D.C. 2006. John O. Hand and Ron Spronk (eds), Essays in Context; Unfolding the Netherlandish Diptych, Cambridge, MA and New Haven 2006. Molly Faries and Ron Spronk (eds), Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations, and Perspectives, Cambridge, MA and Turnhout 2003. Harry Cooper and Ron Spronk, Mondrian, The Transatlantic Paintings, Cambridge MA and New Haven 2001. Ron Spronk, More than Meets the Eye: An Introduction to Technical Examination of Early Netherlandish Paintings at the Fogg Art Museum, Cambridge, MA 1996. Publications (chapters in books): Ron Spronk, J.R.J. van Asperen de Boer and the Development of Infrared Reflectography, in Sven Dupr and Esther van Duijn (eds), Histories of Conservation Science and Scientific Conservation after World War II (Brill Nuncius Seminar Proceedings), Leiden 2024 (at press). Ron Spronk, The Vienna Last Judgement revisited: The underdrawings, in Jos Koldeweij (ed), Defining boundaries: Jheronimus Bosch, his workshop, and his followers, s-Hertogenbosch 2023 (at press). Ron Spronk, Jan Provoost before c. 1500: The Documentary Evidence, in Anna Koopstra, Christine Seidel, and Joshua P. Waterman (eds), Tributes to Maryan W. Ainsworth; Collaborative Spirit: Essays on Northern European Art, 13501650, ed. (Turnhout: Brepols/Harvey Miller, 2022). Ron Spronk, Size Matters, in Sjoerd van Faassen, Wietse Coppes and Benno Tempel (eds), First Look, Then See, Essays on Mondrian For Hans Janssen, The Hague 2020. Maximiliaan Martens, Christina Ceulemans, Ron Spronk and Anne van Grevenstein-Kruse, Introduction, in The Ghent Altarpiece, Research and Conservation of the Exterior (Contributions to the Study of the Flemish Primitives, 14), Brussels 2020. Ron Spronk, On Pieter Bruegels Creative Process, in Alice Hoppe-Harnoncourt, Elke Oberthaler, Sabine Pnot, Manfred Sellink and Ron Spronk (eds), Bruegel, The Hand of the Master, The 450th Anniversary Edition; Essays in Context, Veurne (Hannibal) 2019. Ron Spronk, De zogenaamde Christelijke Allegorie van Jan Provoost, in Matthijs Ilsink, Bram de Klerck and Annemarieke Willemsen (eds), Het Einde van de Middeleeuwen; Vijftig kunstwerken uit de tijd van Bosch en Erasmus (Festschrift Jos Koldeweij), Nijmegen 2019. Ron Spronk, Copious Copies in Matthijs Ilsink, Jos Koldeweij and Ron Spronk, Exh. Cat. From Boschs Stable; Hieronymus Bosch and the Adoration of the Magi, s-Hertogenbosch (Het Noordbrabants Museum), 2018; also published in Dutch. Ron Spronk, On Pieter Bruegels Creative Process, in Elke Oberthaler, Sabine Pnot, Manfred Sellink and Ron Spronk, with Alice Hoppe-Harnoncourt, E-book, Bruegel, The Hand of the Master Essays, Vienna (Kunsthistorisches Museum) 2018; published in English and German. Ron Spronk, Disciplines in motion: The changing roles of museum curators, art conservators, and conservation scientists in Nenagh Hathaway and Brandi MacDonald (eds), exh. cat. The Unvarnished Truth: Art and Science, Hamilton, ON, (McMaster Museum of Art), 2016. Ron Spronk with Casey Lee, Apples to Apples; Towards standardised photographic documentation of drawings from the Hieronymus Bosch group, in Rethinking Renaissance Drawings; Essays in Honour of David McTavish, Montreal and Kingston 2015. Ron Spronk, Jheronimus Bosch and the Van Aken Family Workshop: Towards a Reassessment of Technique, in: Jheronimus Bosch; His Patrons and his Public, s-Hertogenbosch 2014. Maarten van Bommel, Hans Janssen and Ron Spronk, After the fact; Evaluating our interdisciplinary study of Mondrians Victory Boogie Woogie in: A. Sgamellotti, B.G. Brunetti, and C. Miliani (eds), Science and Art. The painted surface, London (Royal Society of Chemistry) 2014. Ron Spronk, Technical studies of works by Piet Mondrian, in: Maarten van Bommel, Hans Janssen and Ron Spronk (eds), Inside Out Victory Boogie Woogie, Amsterdam 2012 (Dutch edition: Technisch onderzoek naar schilderijen van Piet Mondriaan, in: Maarten van Bommel, Hans Janssen and Ron Spronk, eds: Victory Boogie Woogie Uitgepakt, Amsterdam 2012). Maarten van Bommel, Hans Janssen and Ron Spronk, The Making of Victory Boogie Woogie, in: Maarten van Bommel, Hans Janssen and Ron Spronk (eds), Inside Out Victory Boogie Woogie, Amsterdam 2012. Maarten van Bommel, Hans Janssen and Ron Spronk (eds), Inside Out Victory Boogie Woogie, Amsterdam 2012 (Dutch edition: Victory Boogie Woogie Uitgepakt, Amsterdam 2012). Silvio Savarese, David Stork, Andrey DelPozo and Ron Spronk A computer analysis of the mirror in Hans Memlings Virgin and Child and Maarten van Nieuwenhove, in: Filippo Stanco, Sebastiano Battiato and Giovanni Gallo (eds), Digital Imaging for Cultural Heritage Preservation; Analysis, Restoration, and Reconstruction of Ancient Artworks, Boca Raton, London and New York 2011 Ron Spronk and Catharina Van Daalen, Two Scenes from the Passion at the Harvard Art Museums; A Tale of Two Antwerp Workshops? in: Molly Faries (ed), Making and Marketing: Studies of the Painting Process in Fifteenth- and Sixteenth Century Netherlandish Workshops, Turnhout 2006. Ron Spronk, Standing on the Shoulders of Giants: The Early Years of Conservation and Technical Examination of Netherlandish Paintings at the Fogg Art Museum, in: Molly Faries and Ron Spronk, eds: Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations, and Perspectives, Cambridge, MA and Turnhout 2003. Gianfranco Pocobene and Ron Spronk, The Fogg Art Museums Virgin and Child from the Workshop of Dirk Bouts: Findings from Technical Examinations and Recent Conservation Treatment in: Molly Faries and Ron Spronk, eds, Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations, and Perspectives, Cambridge, MA and Turnhout 2003. Molly Faries, Narayan Khandekar, Kate Olivier and Ron Spronk, Glossary in: Molly Faries and Ron Spronk, eds: Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations, and Perspectives, Cambridge, MA and Turnhout 2003. Rhona MacBeth and Ron Spronk, A Material History of Rogier's Saint Luke Drawing the Virgin; Conservation Treatments and Findings from the Technical Examinations, in: Carol Purtle (ed.), Rogier van der Weyden, St. Luke Drawing the Virgin: Selected Essays in Context, Turnhout 1998. Ron Spronk, Essay and several catalog entries on Jan Provoost in: Maximiliaan P.J. Martens (ed), Bruges and the Renaissance; From Memling to Pourbus, Bruges 1998, 2 vols. Ron Spronk, A Portrait of a Man by the Master of the 1540s, in: Peter van den Brink and Liesbeth Helmus (eds), Album Discipulorum J.R.J. van Asperen de Boer, Zwolle 1997. Publications (papers in refereed journals): Jos Koldeweij, Luuk Hoogstede, Matthijs Ilsink, Koen Janssens, Nouchka De Keyser, Rik Klein Gotink, Stijn Legrand, Julia M. Nauhaus, Geert Van Der Snickt, and Ron Spronk, The patron of Hieronymus Boschs Last Judgment triptych in Vienna, in: The Burlington Magazine 160, 2018. Desmond C. Adler, Jens Stenger, Iwona Gorczynska, Henry Lie, Teri Hensick, Ron Spronk, Stephan Wolohojian, Narayan Khandekar, James Y. Jiang, Scott Barry, Alex E. Cable, Robert Huber, and James G. Fujimoto, Comparison of three-dimensional optical coherence tomography and high-resolution photography for art conservation studies, in: Optics Express XV (no. 24; November 2007). Ron Spronk, The reconstruction of a triptych by Jan Provoost for the Jerusalem Chapel in Bruges in: The Burlington Magazine 147, 2005. Ron Spronk, "Infrared Reflectography and 17th-century Dutch Painting" in: Cr 3:2, 2002 (Book review of Edwin Buijsen, Onder de Huid van Oude Meesters, zeventiende-eeuwse schilderijen onderzocht met infraroodreflectografie). Ron Spronk, Tracing the Making of Jan Provoost's Detroit Last Judgment Through Technical Examinations and Digital Imaging, in: Bulletin of the Detroit Institute of Arts 72:1, 1998. Merle Pikkemaat and Ron Spronk, De Avant-Garde Voorbij, het veelzijdig realisme van Jan Worst", Akt 49, 1991. Publications (papers in refereed conference proceedings): David Andrzejewski, HYPERLINK "http://spie.org/profile/David.Stork-15041"David G. Stork, Xiaojin Zhu, and Ron Spronk, Inferring Compositional Style in the Neo-plastic Paintings of Piet Mondrian by Machine Learning, in SPIE 2010 Conference Proceedings. Silvio Savarese, Ron Spronk, David Stork, and Andrey DelPozo, Reflections on praxis and facture in a devotional portrait diptych: A computer analysis of the mirror in Hans Memlings Virgin and Child and Maarten van Nieuwenhove, in: SPIE 2008 Conference Proceedings. Ron Spronk, Three Boutsian Paintings in the Fogg Art Museum: Technical Examinations and Art Historical Implications, in: Bert Cardon et al. (eds), Bouts Studies; Proceedings of the International Colloquium (Leuven, 26-28 November), Louvain 2001. Ron Spronk, The Underdrawing of Jan Provoosts Crucifixion, in: La Peinture dans les Pays-Bas au 16e sicle; Pratiques datelier, infrarouges et autres mthodes dinvestigation (Le dessin sous-jacent et de la technologie dans la peinture, Colloque XII, September 1997), Louvain 1999. Ron Spronk, An Early Sixteenth Century Last Judgment by Jan Provoost, in: Colloque XI pour l'tude du dessin sous-jacent et de la technologie dans la peinture (Septembre 1995), Louvain-la-Neuve 1997. Ron Spronk, Maarten van Heemskerck's use of literary sources from antiquity for his Wonders of the World series of 1572, in: Presenting the Past; History, Art, Language, Literature (Crossways 3), London 1996. Publications (websites): Ron Spronk (coordination), Closer to Van Eyck; Rediscovering the Ghent Altarpiece, a comprehensive web application for the restoration of the lower interior of the Ghent Altarpiece (2020). URL:  HYPERLINK "http://closertovaneyck.kikirpa.be/" http://closertovaneyck.kikirpa.be/ Elke Oberthaler and Ron Spronk, with Frederik Temmermans (coordination), Inside Bruegel, a comprehensive web application for the panel paintings by Pieter Bruegel the Elder in the Kunsthistorisches Museum, Vienna (2018). URL:  HYPERLINK "http://insidebruegel.net/" http://insidebruegel.net Ron Spronk (coordination), Closer to Van Eyck; Restoring the Ghent Altarpiece, a comprehensive web application for the restoration of the exterior of the Ghent Altarpiece (2016). URL:  HYPERLINK "http://2017.closertovaneyck.be/" http://2017.closertovaneyck.be/ Robert G. Erdmann, Luuk Hoogstede, Matthijs Ilsink, Rik Klein Gotink, Jos Koldeweij, Hanneke Nap, Ron Spronk and Travis Sawyer, Bosch in Venice (2013), URL:  HYPERLINK "http://boschproject.org/old_index.html#" http://boschproject.org/old_index.html# Ron Spronk (coordination), Closer to Van Eyck; Rediscovering the Ghent Altarpiece, a comprehensive web application on the results of the preliminary examination of the Ghent Altarpiece in the context of the project Lasting Support (2012). URL:  HYPERLINK "http://legacy.closertovaneyck.be/" http://legacy.closertovaneyck.be/ Publications (papers read): 2023: s-Hertogenbosch, Jheronimus Bosch Art Center, Defining boundaries: Jheronimus Bosch, his workshop, and his followers, The Vienna Last Judgement revisited: The Underdrawings. 2022: Toronto, Ontario, University of Toronto, Universities Art Association of Canada Annual Conference, Technical Art History in practice, Three decades of looking closely (invited presentation); Amsterdam, University of Amsterdam, Historians of Netherlandish Art Conference, Dendrochronology, a discipline in flux. 2021: Utrecht, Utrecht University, Brill-Nuncius seminar: The Making of Conversation Science, Infrared Reflectography; the first decades (invited presentation); Durham, Durham University, Cultural Heritage 360, Closer to Van Eyck: The Ghent Altarpiece Restored (invited workshop presentation, with Frederik Temmermans). 2020: New Haven, Yale University, Closer to Van Eyck (invited online guest presentation in graduate course HSAR 495: Display, Reception, Identity). 2019: Stockholm, Stockholm University, Jheronimus Bosch in the Laboratory (invited presentation); Vienna, Akademie der Bildenden Knste Wien, Gemldegalerie, The Underdrawings of the Vienna Last Judgment (invited presentation, read by Luuk Hoogstede). 2018: Vienna, Kunsthistorisches Museum, Bruegel, The Hand of the Master, Bruegel as Second Bosch. Another look at the Washington St Anthony and copies of Boschs PradoAdoration of the Magi; Brussels, Royal Museums of Fine Arts of Belgium, The Bruegel Success Story; Symposium XXI for the Study of Underdrawing and Technology in Painting, The Two Towers; Pieter Bruegels Tower of Babel panels in Vienna and Rotterdam (Ron Spronk, with Elke Oberthaler, Sabine Pnot, Manfred Sellink and Alice Hoppe- Harnoncourt, invited presentation); Ghent, Ghent University, Ghent Altarpiece International Study Day, Technical Documentation and Web Application (Ron Spronk, Christina Currie (KIK-IRPA), Ann Dooms (VUB), and Bart Fransen (KIK-IRPA), invited presentation; Brussels, Koninklijke Vlaamse Academie van Belgi voor Wetenschappen en Kunsten, Op het snijvlak van kunsten en wetenschappen: Opmerkingen bij het gebruik van materieel-technisch onderzoek in toeschrijvingen aan Vlaamse Primitieven (invited presentation for the annual meeting of the combined chambers of Arts and Sciences). 2017: Rome, Italy, Bibliotheca Hertziana Max Planck Institute for Art History, Roundtable Archivio Diagnostico, Towards standardized documentation: Projects on Van Eyck and Bosch (invited presentation); Nijmegen, Netherlands, Kunsthistorische Kring Nijmegen, Opmerkingen over Pieter Bruegel (ca. 15271569) en zijn schildertechniek (invited lecture); Vienna, Austria, Kunsthistorisches Museum (in collaboration with Dorotheum), Alte Meister im Gesprch,Beyond the Devilish Details: Looking Deeper into Bosch (invited presentation); Kingston ON, Agnes Etherington Art Centre,  HYPERLINK "https://agnes.queensu.ca/event/details/a-morning-of-talks-for-the-unvarnished-truth/" A Morning of Talks for The Unvarnished Truth, Connoisseurship: Between Intuition and Science? 2016: Chicago, Illinois, Northwestern University/Art Institute of Chicago, Center for Scientific Studies in the Arts, Beyond the Devilish Details: Looking Deeper into Bosch (invited lecture); Konstanz, Universitt Konstanz, Art and Science: A matter of Teamwork, The problem with interdisciplinarity (invited presentation); Kasteel Doornenburg, Jheronimus Bosch doorgelicht (invited public lecture); CODART 19, Connoisseurship: Between Intuition and Science? (invited panel discussion introduction); Tilburg, Stadsschouwburg, Science Caf, Jheronimus Bosch Doorgelicht (invited lecture); Montreal, AIC-CAC Annual Conference, Looking Closer, Seeing More" (invited keynote presentation); Amersfoort, De Orde van den Prince, Jheronimus Bosch doorgelicht (invited lecture); Amsterdam, Rijksmuseum, De Stijl and its Legacy at 100, After the Fact: Evaluating our Interdisciplinary Study of Mondrian's Victory Boogie Woogie (with Maarten van Bommel and Hans Janssen); Cambridge, MA, Harvard Art Museum, Victor M. Leventritt Lecture, Beyond the Devilish Details: Looking Deeper into Bosch (invited lecture). 2015: Cambridge, MA, Harvard University, Sightlines; Digital Futures Initiative (invited lecture); Catania, Italy, Technart, Combined use of film x-radiography and spectro-chemical techniques to analyze a portrait from Rubens workshop (with Nenagh Hathaway, Brandi Lee MacDonald, Fiona McNeill, Alison Murray, Gianfranco Pocobene, Carol Podedworny); Kingston, ON, Kingston Prize Lecture, Looking closer at Jheronimus Bosch (invited lecture). 2014: Bruges, Symposium XIX for the Study of Underdrawing and Technology in Painting. Technical Studies of Paintings: Problems of Attribution (15th-17th Century), Underdrawings in the Bosch Group; Ghent, Ghent University, Ghent Altarpiece International Study Day; Boston, Massachusetts, Boston University: Historians of Netherlandish Art Conference, Technical Art History Part 1 and Technical Art History Part 2 (sessions co-chair), An Interactive Exploration of New Visualization Techniques from the Bosch Research and Conservation Project (workshop co-presenter); Guelph, Ontario, Guelph University: Art History Speaker Series, Bosch & Co? New insights from technical studies of paintings attributed to Jheronimus Bosch (invited lecture). 2013: s-Hertogenbosch, Jeroen Bosch Art Centre, Jheronimus Bosch & Co.? (invited lecture); Amsterdam, Rijksmuseum, Painting Techniques; History, Materials, Studio Practice, Jheronimus Bosch in Venice; A Bosch Research and Conservation Project Case Study (with Robert G. Erdmann, Luuk Hoogstede, Jos Koldeweij, Matthijs Ilsink, and Rik Klein Gotink); Hamilton, Ontario, McMaster University: Closer to Van Eyck; Rediscovering The Ghent Altarpiece (invited lecture); Kingston, ON, 鶹s University, PADP Lecture Series Disciplines in motion; The changing roles of curators and conservators (invited lecture). 2012: Amersfoort, Rijksdienst voor het Cultureel Erfgoed, Onderzoekschool Kunstgeschiedenis, Disciplines in beweging: de veranderende rol van de curator en restaurator (invited lecture); New York, Institute of Fine Arts, Mellon Research Initiative, Digital Art History, Looking Closer: Imaging paintings in high resolution (invited lecture); Los Angeles, California, The Getty Foundation, Closer to Van Eyck: Rediscovering the Ghent Altarpiece (invited lecture); s-Hertogenbosch, Jeroen Bosch Art Centre, Jheronimus Bosch; His Patrons and his Public, Towards a reassessment of materials and technique in the workshop of Jheronimus Bosch; Copenhagen, National Gallery of Danmark, 1st CATS Conference: The Bosch Research and Conservation Project (with Robert G. Erdmann, Luuk Hoogstede, Jos Koldeweij, Matthijs Ilsink, and Rik Klein Gotink); s-Hertogenbosch, Jeroen Bosch Art Centre, Open University: Dichterbij Jeroen (invited lecture); Brussels, Royal Museums of Fine Arts of Belgium, CODART 15: Disciplines in motion; The changing roles of curators and conservators (invited keynote address); Kingston, ON, 鶹s University, Department of Art History and Art Conservation, Work in Progress Series: The Lisbon St. Anthony triptych by Hieronymus Bosch; Preliminary findings of the from the 2011 technical examinations; Kingston, ON, 鶹s University Institute for Lifelong Learning, Towards the preservation of a unique masterpiece:The current state of conservation of the Ghent Altarpiece; Maastricht, Stichting Restauratie Atelier Limburg, Friends of CODART: Recent Developments in Studying Materials and Technique in Netherlandish Paintings. 2011: Tallinn, Kadriorg Art Museum, 6th Annual Spring Conference; Technical Art History: In his Own Hand? Observations on technique in two paintings by Hieronymus Bosch (invited conference paper); s-Hertogenbosch, Jeroen Bosch Art Centre: Dichterbij Jeroen (invited annual Bosch lecture); Paris, Centre de Recherche et de Restauration des Muses de France, CHARISMA Users meeting: Towards a Material History of the Ghent Altarpiece; San Francisco, SPIE Conference "Documenting Van Eycks' Ghent Altarpiece; field workexperiences fromthe crypt" (invited keynote address). 2010: Nijmegen, Radboud University and s-Hertogenbosch, Jeroen Bosch Art Centre: Eigenhandig? Opmerkingen bij de schildertechniek en toeschrijvingsproblematiek bij Jheronimus Bosch (inaugural lecture); Brussels, Belgium, Koninklijke Vlaamse Academie voor Wetenschappen Vision and Material Conference: Lasting Support; The 2010 urgent conservation treatment and Technical Documentation of the Ghent Altarpiece (invited conference paper). 2009: Kingston, Ontario, Canadian Association of University Research Aministrators Annual Conference, Looking Through Paint; Revealing underdrawing and creative process in Old Master Painting. 2008: Los Angeles, California, American Association of Museum Curators Annual Conference: Revealing Revisions, Piet Mondrians Transatlantic Paintings (invited conference paper); Cleveland, Ohio, The Rowan Club of Bibliophiles, The Reconstruction of Jan Provost's Triptych for the Chancel of the Jerusalem Chapel in Bruges (invited lecture); Kingston, ON, 鶹s University, 鶹s Kingston Community Breakfast: What Technical Art History Can Do: Revealing the Creative Process in Old Masters; San Diego, California, SPIE Conference: Reflections on praxis and facture in a devotional portrait diptych: A computer analysis of the mirror in Hans Memlings Virgin and Child and Maarten van Nieuwenhove (with Silvio Savarese, David Stork, and Andrey DelPozo; (invited conference paper). 2007: Ottawa, Ontario, National Gallery of Canada, The Kathleen M. Fenwick Memorial Lecture, A Treasure Trove of Hidden Drawings; Revealing Underdrawings and Creative Process in Old Master Painting"; Waterloo, Ontario, University of Waterloo, UAAC Annual Conference: Unfolding the Netherlandish Diptych (conference paper); Northampton, Massachusetts, Smith College, The Art of the Matter; Doing Technical Art History: Unfolding the Netherlandish Diptych; Background, Organization and Results (invited conference paper); Kingston, Ontario, 鶹s University, Work in Progress lecture series: The Reconstruction of Jan Provost's Triptych for the Chancel of the Jerusalem Chapel in Bruges (invited lecture); Antwerp, Belgium, Koninklijk Museum voor Schone Kunsten: International Diptych Symposium, Unfolding the Netherlandish Diptych; Background, Organization and Results (invited keynote address); Paris, France, Curators Of Dutch Art (CODART) Annual Conference: Prayers and Portraits; Unfolding the Netherlandish diptych (invited workshop presentation); Antwerp, Belgium, Koninklijk Museum voor Schone Kunsten: Diptieken van Vlaamse primitieven: tentoonstelling en onderzoek (invited public lecture); Antwerp, Belgium, Koninklijk Museum voor Schone Kunsten: Samengebracht en Ontsloten; Het Tweeluik in de vroeg-nederlandse schilderkunst (invited lecture for members of the Orde van den Prince); Bruges, Belgium: Faith & Fortune; Beauty and Madness: Jan Provoosts triptych with the Crucifixion and Scenes from the life of S. Catherine of Alexandria for the Jerusalem Chapel in Bruges (invited conference paper). 2006: Baltimore, Maryland, Historians of Netherlandish Art Conference: Unfolding the Netherlandish Diptych (chair, conference session); Utrecht, Netherlands, A symposium in honor of Molly Faries: Painter, Pilgrim and Knight: Jan Provoost's sojourn in Italy on route to the Holy Land (invited conference paper); Bruges, Belgium: Colloque XVI pour l'tude du dessin sous-jacent et de la technologie dans la peinture: Looking Closer: High Resolution Digital Imaging for Technical Art History (invited conference paper); Boston, Massachusetts, College Art Association: Looking closer: High resolution digital imaging for technical art history (invited conference paper); Leiden, Netherlands, Centre for Art, Archaeology and Science, University of Leiden: The Technical examinations of paintings (invited seminar). 2005: Genoa, Italy, Nord/Sud;Presenze e Ricezioni Fiamminghe in Liguria, Veneto e Sardegna. Prospettive di studio e indagini techniche: Painter, Pilgrim and Knight: Jan Provoost's sojourn in Italy on route to the Holy Land (invited conference paper); Haarlem, Netherlands, Curators Of Dutch Art (CODART) Annual Conference: The Changing Role of the Curator (invited workshop presentation); Kalamazoo, Michigan, International Congress on Medieval Studies: Unfolding the Netherlandish Diptych; A Progress Report (conference paper). 2004: Ormylia, Greece, Novel Technologies for Digital Preservation, Information Processing and Access to Cultural Heritage Collections: Archiving Findings from Technical Examinations: Experiences at the Harvard University Art Museums (invited workshop presentation); Springfield, Missouri, Drury University, Creativity, Exploration and Discovery Convocation Lecture: Revealing Revisions: Piet Mondrian in the Laboratory (invited convocation lecture) and Unfolding the Early Netherlandish Diptych (invited seminar); Seattle, Washington, College Art Association: Ever Evolving Connoisseurship: Unfolding the Netherlandish Diptych (conference paper); 2003: London, Ontario, University of Western Ontario, William S. A. Dale Lecture: More Than Meets the Eye; The Technical Examination of Paintings (invited lecture and seminar); Bruges, Belgium, Colloque XV pour l'tude du dessin sous-jacent et de la technologie dans la peinture: Early Netherlandish Diptychs: Form, Function and Production. A Progress Report (conference paper); Lexington, Kentucky, University of Kentucky, Center for Computational Sciences Seminar Series: Using Digital Imaging in Technical Examinations and Exhibitions at the Harvard University Art Museums (invited lecture); St. Louis, Missouri, Washington University: More than Meets the Eye: The Technical Examination of Paintings (invited lecture); New York, Institute of Fine Arts, New York University, Twenty-Ninth Annual Association of North American Graduate Programs in Conservation Student Conference: Revealing Revisions: The use of Digital Imaging in Researching Mondrian's Transatlantic Paintings (invited lecture). 2002: Amersfoort, Netherlands, Museum Mondriaanhuis: "Mondriaan doorgelicht: De transatlantische schilderijen in het laboratorium" (invited lecture); Miami, Florida, American Institute for Conservation Annual Conference: "Digital Imagery of Works of Art; A collaborative initiative from the Andrew W. Mellon Foundation, the National Science Foundation, and the Harvard University Art Museums" (invited lecture); Brussels, Belgium, Royal Academy of Sciences, Kunst en Wetenschap. Wetenschappelijke onderzoekstechnieken ten dienste van de studie van de schilderkunst van de Nederlanden: "Nieuwe ontwikkelingen. Digitale beeldverwerking in wetenschappelijk onderzoek en museumpraktijk" (invited lecture); Groningen, Netherlands, Department of History of Art and Architecture, Groningen University: "Nieuwe toepassingen van digitale beeldverwerking in materieel-technisch onderzoek en museumpraktijk" (invited lecture); Cambridge, Massachusetts, Graduate School of Design, Harvard University: Visual Expression and Communication Course, Digital Imaging in Research and Education; Applications at the Harvard University Art Museums (invited seminar); Amsterdam, Netherlands, Vrije Universiteit: Onderzoekschool Kunstgeschiedenis, Atelierpraktijk, materieel-technisch onderzoek, en digitale beeldverwerking: Jan Provoost en Piet Mondriaan (invited lecture); Antwerp, Belgium, Historians of Netherlandish Art Conference: "Diptychs, Pairing and Duality in Netherlandish Art" (workshop presentation; workshop co-chair); Antwerp, Belgium, Historians of Netherlandish Art Conference: "Coats of Arms in Rogier van der Weyden's Saint Luke Drawing a Portrait of the Virgin in the Museum of Fine Arts, Boston" (presentation in the workshop Art and Corporate Identity: Guild Patronage in the Early Modern Netherlands). 2001: Cambridge, Massachusetts, Harvard University Art Museums: Digital Imagery for Works of Art: "Digital Imaging and Technical Art History: From Old Masters to Piet Mondrian" (workshop paper); Northampton, Massachusetts, Smith College, The Visual Arts in the Digital Age: "Digital Imaging in the Conservation Lab and in the Museum Gallery; The Case of Mondrian's Transatlantic Paintings." (invited conference paper); Dallas, Texas, American Institute for Conservation Annual Conference: "A Close but Strenuous Relationship: The Effects of Earlier Conservation Treatments on Technical Studies of Piet Mondrian's Transatlantic Paintings" (conference paper); Dallas, Texas, American Institute for Conservation Annual Conference: "Piet Mondrian: The Transatlantic Paintings; An Interactive Computer Kiosk" (conference poster); Cambridge, Massachusetts, Harvard University Art Museums, Modern Art in the Laboratory: "Mondrians Transatlantic Paintings in the Laboratory" (invited conference paper); Lexington, Massachusetts, Netherlands Club of New England: "Piet Mondrian: The Transatlantic Paintings" (invited lecture). 2000: New York, College Art Association: Museum, Classroom, Laboratory: The Early History of Conservation and Technical Examinations at the Fogg Art Museum (conference paper); Enschede, Netherlands, Rijksmuseum Twenthe, and Amersfoort, Netherlands, Museum Mondriaanhuis (invited demonstrations of applications of digital imaging). 1999: Cambridge, Massachusetts, Harvard University Art Museums, Vermeer to Mondrian: A Look at Dutch Masters Lecture Series: Mondrians Transatlantic Paintings in the Laboratory: Technical Examinations and Art Historical Implications (invited lecture); Bruges, Belgium, Colloque XIII pour l'tude du dessin sous-jacent et de la technologie dans la peinture: Piet Mondrians Transatlantic Paintings (conference paper); Los Angeles, California, College Art Association: Technical Examinations and the Practice of Art History (conference session chair); Kingston, Ontario, Canada, 鶹s University: Digital Imaging in Conservation and Technical Examinations (invited seminar); Cambridge, Massachusetts, Harvard University Art Museums, Adjacent Realities: New Technologies and the Art Museum (discussion panelist); Cambridge, Massachusetts, Harvard University Art Museums, Behind the Line: Drawings under Paint (invited seminar). 1998: Louvain, Belgium, Colloquium Dirk Bouts: Findings from the Technical Examinations of Three Paintings from the Bouts Group in the Fogg Art Museum (conference paper); Amersfoort, Netherlands, De Orde van den Prince: Technical Examinations of Early Netherlandish Painting (invited seminar); Paris, France, L'Art et Chemie: Jan Provoost; An Oeuvre under Reconsideration (conference paper); Cambridge, Massachusetts, Harvard University, Committee on Harvard Universitys Resources: Art Conservation and Digital Imaging (invited seminar); Baltimore, Maryland, Historians of Netherlandish Art: Issues Raised in the Examination of Rogiers Saint Luke Drawing the Virgin (conference paper); Cambridge, Massachusetts, Harvard University: Science and the Practice of Art History (seminar). 1997: Cambridge, Massachusetts: New England Conservation Association Lecture Series: Digital Imaging in Conservation and Technical Examination (invited seminar); Bruges, Belgium, Colloque XI pour l'tude du dessin sous-jacent et de la technologie dans la peinture: Jan Provoost's Crucifixion in the Groeningemuseum in Bruges (conference paper); Bloomington, Indiana, Art History Department, Indiana University, Art Historians Association Lecture Series: Digital Imaging at the Harvard University Art Museums (invited seminar). 1996: London, England, Computers in the History of Art Conference: Image Processing Techniques and Technical Examination of Early Netherlandish Paintings at the Harvard University Art Museums: Infrared Reflectography and the 'Layering' of Images (conference paper); Somerset, New Jersey, Eastern Analytical Symposium: New Light on an Early Flemish Painting, Rogier van der Weyden's Saint Luke Drawing the Virgin. (conference paper, with R. Newman and R. MacBeth); Cambridge, Massachusetts, Harvard University Art Museums, Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations, and Perspectives: Standing on the Shoulders of Giants; Technical Examination of Early Netherlandish Painting at the Fogg Art Museum, 1925-1945 (conference paper); Leiden, Netherlands, Historical Painting Techniques, Materials and Studio Practice (Task Group for Study and Collection of Artist's Materials): The Forbes Collection of Artists Materials (task group presentation); Boston, Massachusetts, College Art Association: The Boston Saint Luke Drawing the Virgin: Findings From the Technical Examinations and Some Art Historical Implications (conference paper); London, England, Courtauld Institute: Rogier van der Weydens Saint Luke Drawing the Virgin in the Boston Museum of Fine Arts (seminar); Cambridge, Massachusetts, Harvard University: "Science and the Practice of Art History" (seminar). 1995: Louvain-la-Neuve, Belgium, Colloque X pour l'tude du dessin sous-jacent et de la technologie dans la peinture: An Early Sixteenth-Century Last Judgment by Jan Provoost (conference paper). 1994: London, England, Presenting the Past; History, Art, Language, Literature: Maarten van Heemskerck's Use of Literary Sources from Antiquity for His Wonders of the World Series of 1572 (conference paper); Cambridge, Massachusetts, Harvard University, Conservation Imaging Consortium: Building a Digital Infrared Reflectography Database for Indiana University (conference paper, with John Sharp). 1993: Bloomington, Indiana, Indiana University, Indiana University Infrared Reflectography Symposium: Some Workshop Procedures of Jan Provoost and Gerard David Compared: Technical and Art Historical Examinations(conference paper). Publications (other): Ron Spronk (with many others), web application The Sargent Murals at the Boston Public Library: History, Interpretation, Restoration (2002-03). No longer accessible online. Kevin Kiernan, Charles Rhyne and Ron Spronk: "Digital Imagery for Works of Art," a report for the National Science Foundation and the Andrew W. Mellon Foundation, 2002. Ron Spronk, with Robin Marlowe and Harry Cooper: Interactive computer kiosk Mondrian: The Transatlantic Paintings, Harvard University Art Museums, Cambridge, MA and the Dallas Museum of Art, Dallas, TX (2001). Ron Spronk, with Robin Marlowe and Harry Cooper: Web application Piet Mondrian: The Transatlantic Paintings (2001). No longer accessible online. Henry Lie, Francesca Bewer, and Ron Spronk: A Brief History of Conservation Training at the Fogg Art Museum/ Straus Center for Conservation, in: I. Brckle (ed.), Harvard University Art Museums, North American Graduate Programs in the Conservation of Cultural Property (Buffalo NY: Association of North American Graduate Programs in the Conservation of Cultural Property, 2000), 2128. Ron Spronk and Robin Marlowe: Interactive web application Investigating the Renaissance (1998). No longer accessible online. 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Q5CJOJQJ^JaJ#h1Lh)5CJOJQJ^JaJ/#$)*Ix)Ix)0Ix),Ix)Ixy)h1Lh QB*CJOJQJ^JaJph,h1Lh Q6B*CJOJQJ^JaJphR!#)I`x)Ix)Ix )I[sx)I^x}վվվվվ,h1Lh Q6B*CJOJQJ^JaJph)h1Lh QB*CJOJQJ^JaJph)h1Lh)B*CJOJQJ^JaJphK!)IUx!"꾾{cccccc/hh5B*CJOJQJ\^JaJph)h5B*CJOJQJ\^JaJph,h1Lh Q5B*CJOJQJ^JaJph,h1Lh"Y|5B*CJOJQJ^JaJph)h1Lh}B*CJOJQJ^JaJph,h1Lh Q6B*CJOJQJ^JaJph)h1Lh QB*CJOJQJ^JaJph#"Iwx)/BIKmxz{|ιuuuuuuuuu``uu```uI,h1Lh Q5B*CJOJQJ^JaJph)h1Lh]B*CJOJQJ^JaJph)h1Lh QB*CJOJQJ^JaJph/hh5>*B*CJOJQJ^JaJph,h1Lh5B*CJOJQJ^JaJph)h1LhB*CJOJQJ^JaJph/hh5B*CJOJQJ\^JaJph2hh56B*CJOJQJ\^JaJph|/IOS^_mxﵞooooXX,h5U.hV5B*CJOJQJ^JaJph/h5U.h Q56B*CJOJQJ^JaJph,h5U.h Q5B*CJOJQJ^JaJph,h5U.h]5B*CJOJQJ^JaJph,h1Lh Q5B*CJOJQJ^JaJph h1LhVCJOJQJ^JaJ#h1Lh Q6CJOJQJ^JaJ h1Lh QCJOJQJ^JaJ">?IVx345CIOS]^`޽ޥo#h1Lh]5CJOJQJ^JaJ#h5U.h]5CJOJQJ^JaJ#h5U.h Q5CJOJQJ^JaJ/h5U.h5U.5>*B*CJOJQJ^JaJph)h5U.h5U.56CJOJQJ]^JaJh5U.h5U.5CJaJ#h5U.h5U.5CJOJQJ^JaJh5U.5CJOJQJ^JaJ*`cnox)*-/JNOP麺ҋzzzhfhhzzUUUzUz h1LhVCJOJQJ^JaJU#h1Lh Q6CJOJQJ^JaJ h1Lh QCJOJQJ^JaJ/h1Lh]5>*B*CJOJQJ^JaJph,h1LhV5B*CJOJQJ^JaJph/h1Lh Q56B*CJOJQJ^JaJph,h1Lh]5B*CJOJQJ^JaJph,h1Lh Q5B*CJOJQJ^JaJph5Q4prsuvxy{|$a$&`#$ hgd Qgd[:Rh`hgd[:Rh`h$ hda$gd]stigating the Renaissance, Harvard University Art Museums, Cambridge, MA (1997). Ron Spronk: The Early Years of Conservation at the Fogg Art Museum: Four Pioneers, Harvard University Art Museums Review 6:1, 1996. Ron Spronk: Fra AngelicoThe Crucifixion and Piero di CosimoThe Misfortunes of Silenus, in: Harvard's Art Museums: 100 Years of Collecting, Cambridge and New York 1996. Ron Spronk: Jan ProvoostThe Dispute of St. Catherine of Alexandria and Unknown South Netherlandish MasterThe Annunciation, in: Van Eyck to Breugel, Rotterdam 1994. Ron Spronk: Philips Galle after Maarten van HeemskerckThe Eight Wonders of the World, in: Professional Printmaking in the Sixteenth Century Netherlands, Bloomington, IN 1994. Merle Pikkemaat and Ron Spronk: Jan Worst, Schilderijen 1988-1991, Groningen (Instituut voor Kunstgeschiedenis, Groningen University).     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