master thesis presentations uva

Spring 2024

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Electronic theses & dissertations (ETDs)

Electronic dissertations and masters’ theses have been deposited in the Libra scholarly repository at the University of Virginia since 2012. Libra makes UVA scholarship available to the world and provides safe and secure storage for the scholarly output of the UVA community. Submitting your work to Libra is a graduation requirement for all graduate students whose programs have required theses and for PhD students. LibraETD is can be used by all students, undergraduate  or graduate, whose programs have optional theses or capstones.

Before you upload your thesis or dissertation, be sure you have reviewed:

Copyright Essentials for Scholarly Work  (including Graduate Students)

The ETD Submission Checklist

Older dissertation formats

All dissertations submitted to the UVA Library in CD format were deposited into Libra in early 2014. Access to these items is UVA-only, replicating the accessibility level of the originally deposited CDs.

If you are the author of one of these dissertations and would like to change the access level to be world-wide open access, please  contact us .

Paper copies

We no longer accept paper copies for the Library shelves.  Many frequently requested dissertations from the UVA collection have been added to Libra through a generous grant from Jefferson Trust. If you are the author of one of these dissertations now in Libra and would like to change the access level to be world-wide open access, please  contact us .

If your dissertation was published in paper previously and you would like it to be added to Libra, please  contact us .

Many UVA dissertations were deposited in ProQuest until 2012, and some students continue to take the option to deposit to this commercial vendor of databases and other information products. ProQuest’s  Dissertations and Theses Full Text  database contains many dissertations published in the U.S. and is used by scholars worldwide whose institutions opt to provide paid access to the database. ProQuest also sells full-text copies of dissertations directly to the public, though it is worth noting they do not share revenue from those sales with authors. NOTE: To access "online" ETD's in Proquest, you must be affiliated with an institution that subscribes to the ProQuest database.

ProQuest charges fees for submission, and they have particular formatting and copyright requirements.  Please see their  submission instructions  for details. UVA does not require thesis or dissertation deposit to ProQuest, nor does UVA have an institutional agreement with ProQuest for such deposit. Students who opt to deposit with ProQuest do so as individuals contracting with this vendor.

Libra Contents

• Libra: Search and submit
• About Libra
• About LibraETD
• About LibraData
• About LibraOpen
• Copyright essentials

Spring 2024

UVA's newly-renovated main library, Shannon, is open! As we move the books back in, services may be impacted. See current service status.

Electronic thesis/dissertation (ETD) submission checklist

Before you can submit your thesis or dissertation, you must receive an e-mail from Libra  with the subject: “ Access to upload your approved thesis or dissertation to LIBRA ”. The e-mail is sent after your defense milestone has been updated by a Graduate Administrator and after Libra receives notice of it.

If you are a graduate student whose thesis is not a graduation requirement, or an undergraduate, you can still deposit your work in Libra. Please contact your advisor or graduate administrator and have them e-mail [email protected] .

Use the instructions below to successfully  submit your ETD  to Libra (LibraETD).

Before you submit

1. review copyright information.

Check out the Copyright Essentials for Scholarly Work page to get a better understanding of a few key copyright concepts. These will be important as you draft and submit your thesis or dissertation, both in understanding how and when you can use copyrighted third-party content in your own work, and in understanding your rights and opportunities to share your work as the author of your thesis or dissertation. Thinking about publishing your thesis/dissertation in part or whole, before or after graduation? Check out the Publisher Policy Checker from MIT Library. Use this resource to find publisher policies regarding inclusion of previously published articles in theses and dissertations, and policies on accepting journal submissions that first appeared in an author’s previously released thesis or dissertation.

2. Know your school’s instructions

Check with your school for information on the proper process, workflow, and timing for submitting your thesis or dissertation.

Your school will direct you on its process for submitting your work:

• Engineering School Graduation Procedure (MS Candidates)
• Engineering School Graduation Procedure (PhD Candidates)
• Arts & Sciences Thesis Submission (MA, MS, PhD)
• School of Education and Human Development, Doctoral Student Degree Completion (Ed.D. and Ph.D.)  or email  [email protected]
• School of Nursing (DNP)
• School of Medicine (Biomedical Sciences Graduate Program)
• Darden School of Business PhD Program  (Darden student access only, authentication required.)
• School of Architecture - Constructed Environment

3. Know your open license options

Libra lets you choose an open license when you post your work, and will prominently display the CC license you choose as part of the record for your work.

• CC-BY  (permitting free use with proper attribution)
• All rights reserved (no additional license for public reuse) – users who download your work from Libra must comply with ordinary copyright law and seek permission for uses that are not fair use or otherwise permitted by law

A CC-BY license helps readers find your work, and makes it more likely that it will be read and re-used. If you would like to use a more restrictive Creative Commons license, please contact a Libra administrator . Review the Creative Commons section of Copyright Essentials for Scholarly Work for further information.

4. Know your access and visibility options

All graduate students are required to discuss access options (including embargo) with their advisor or committee prior to submitting to Libra. To understand your options, please see the Access and Visibility Options page.

If you are thinking about requesting an embargo, do not complete your Libra submission until your request has been approved AND applied to your Libra record. 

To request an embargo, first consult with your thesis or dissertation committee, then contact your schools’ dean’s office for final approval.

5. Prepare an abstract and keywords

• An abstract is required for submission to Libra. It describes your work’s main focus to researchers interested in your topic. Using the abstract already included in your thesis or dissertation is fine. If your thesis does not already have an abstract, use a word processing or text editing program to create and save at least a paragraph describing your thesis to potential readers. Copy and paste your abstract into the submission form.
• Keywords are optional but encouraged. Select at least 2 to 3 keywords that best describe the content of your thesis or dissertation. Keywords can be taken from the abstract and/or title. Individual words and/or phrases may be used. Use keywords that will be easily recognized by others in your discipline.

6. Proofread

You may not delete dissertations and theses once they are deposited in Libra . Major changes or deletions require a dean’s approval.

Submit your work

7. upload to libra.

• Log in  to Libra (LibraETD) with your UVA NetBadge credentials.
• An  ORCID iD is a unique researcher identifier, used worldwide, that you can keep throughout your life and retain even if you move institutions. It distinguishes you from other researchers, even if they have the same name, and enables authoritative links to be created between you and your research activities.
• Create or link your ORCID iD in  LibraETD   by clicking the “Create or Connect Your ORCID ID” button on your dashboard (main) page in LibraETD. You may remove the Libra link to ORCID at any time by clicking the red X next to your ORCID iD on the dashboard.
• Find out more about  ORCID at UVA .
• Check the title displayed for your active thesis or dissertation on your Dashboard. The title in Libra must match the title as approved by your committee or advisor. If it does not, please report the discrepancy to your departmental administrator to make the corrections in SIS. Return to this step when the title has been corrected and proceed with your deposit.
• From your Dashboard, click “Edit” to enter description information. Required fields are indicated. Report errors in pre-populated fields to your Graduate Office.
• You must enter (one) advisor (primary advisor, committee chair, practicing mentor, etc.). You may enter additional advisors and/or committee members.
• Select an open license in the “Rights” field.
• Upload at least one file containing the final, approved version of your thesis or dissertation.
• If the approved version is a document, it MUST be in PDF format (PDF/a preferred).
• Acceptable file types for alternative theses and dissertations & supplemental files are: CSV, GIF, HTM, HTML, JPEG, JPG, MOV, MP3, MP4, PDF, PNG, TIF, TIFF, TXT, XML.
• MP4 videos should have these specifications:  H.264 codec, with AAC audio, in a .mp4 container.
• Consider uploading large supplemental files or data sets to  LibraData  and linking them to your thesis or dissertation.
• Contact Libra staff  if you have questions about acceptable formats or need assistance with video or data file deposits.
• Give each uploaded file a descriptive label that will be viewable to Libra visitors, or accept the recommended label  N _ LastName_FirstName_Year_DegreeType  (e.g. 1_Jefferson_Thomas_1871_MA.pdf).  The descriptive label will be the default name of the file when saved and downloaded.
• If desired, see the Provost's policy on Submission of Electronic Theses and Dissertations on how to request an Embargo.
• Read the  Libra Deposit License  for Student Theses and Dissertations and check the box to agree or contact your Graduate Office if you do not agree.
• Click “Save and Exit” at any point to save a draft of what you have added and return to Libra later to “Edit” and complete your submission.
• Click “Save and Continue” to view your descriptive information.
• If you did not create/connect your ORCID iD, and you want to, you can do so from this information page by clicking the “Create or Connect Your ORCID ID” button . See the  Optional  step above. Find out more about  ORCID at UVA .
• If there is information that needs editing or added, click “Edit” to make further changes.
• Click “Preview before Submission” to preview the public view of your work before finalizing your submission.
• You may not delete or make major changes to your dissertation or thesis once you have clicked “Submit Thesis”  so click “Edit” if you need to make additional changes.
• Click “Submit Thesis” to finalize your submission.

After you submit

8.  check your submission.

• Note the persistent link (DOI - Digital Object Identifier) for your scholarship. Add it to your CV, and share it if you chose to make it immediately open. Always provide the DOI when sharing your work with colleagues, collaborators, and on social media for the most accurate metrics on views and downloads.
• Approximately an hour after deposit, you may check that your scholarship was successfully added to the Library’s collection by searching for your thesis or dissertation in VIRGO, the UVA online library catalog.
• 24 hours after deposit, please verify that SIS has been updated to reflect that you have completed this requirement.
• You will also receive email confirmation of your deposit, including the persistent link (DOI) for your scholarship.

Congratulations on your achievement!

Libra Contents

• Libra: Search and submit
• About Libra
• About LibraETD
• About LibraData
• About LibraOpen
• Copyright essentials

Dissertations

Questions ask us, scholarly repository librarian.

Dissertation and Thesis Search Strategies

Looking for dissertations on a particular topic to complete your research or determine whether your proposal will be a unique topic? Increasingly full text dissertations are freely available, though a thorough search means searching multiple resources and consulting your local librarian.

• Start with a Google or Google Scholar search on your topic.
• To see the dissertations (in all formats) held at UVA, check our local catalog Virgo .
• For UVA theses & dissertations available online, check our Libra Repository results .
• Many older dissertations are still only available in ProQuest Dissertations and Theses Global .
• WorldCat is also a good source for older titles.
• Open Access Theses and Dissertations (OATD.org) has titles and abstracts of theses from over 1100 institutions around the world, including UVA that are free and publicly available.
• Ask your Subject Librarian or check the Subject Guide for your area.

Dissertation Search Tools

• Dissertations & Theses Global This link opens in a new window These dissertations are available through ProQuest to UVa Patrons only. If you need access to one of these works, please "Ask a Librarian": http://www.library.virginia.edu/askalibrarian/
• Virgo Thesis/Dissertation Virgo, UVa's online catalog, provides discovery of all theses and dissertations originating at the University of Virginia as well as many others. Newer theses and dissertations are accessible online. See the link below to search those UVA theses and dissertations online.
• Virgo Online Thesis/Dissertations Search for UVa Theses and Dissertations that are available online in the Libra Repository.
• Ethos( UK dissertations & theses) UK dissertations & theses are discoverable from the EThoS service of the British Library. Please see the FAQ for more information on searching and availability: http://ethos.bl.uk/Faq.do
• Center for Research Libraries A good source for dissertations from around the world.
• Google Scholar
• Last Updated: Mar 1, 2024 1:23 PM
• URL: https://guides.lib.virginia.edu/dissertation
• 434-924-3021
• [email protected]
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Grad Thesis SLAM Preparation Series 3: Slide Design & Presentation Skills

Event Date March 16, 2023 - 3:00 pm Location Zoom Slide Design & Presentation Skills | Mar. 16, 3:00-4:30 pm (virtual) The UVA Grad Thesis SLAM provides doctoral students from all disciplines an opportunity to effectively explain their research in three minutes, in language appropriate for a non-specialist audience. This is a modified version of Three Minute Thesis (3MT) competition, to make it inclusive for all disciplines.  In this session you’ll learn how to craft and deliver a polished presentation. You’re allowed to use just 1 slide in your presentation, so we’ll talk about how to use that space efficiently and effectively. You’ll also get tips and tools to overcome common presentation fears and foibles.   Interested PhD students can learn more by visiting: https://phdplus.virginia.edu/2023-grad-thesis-slam REGISTER HERE   PhdPlus NID 9986

Introduction Master Thesis Data Science (2020) ¶

• What is it?
• When is it?
• How does it work?

Master Thesis Data Science ¶

• Coordinator: Maarten Marx (Informatics Institute, UvA) 2020-21: Cristian Rodriquez Rivero will take over this year
• 18 ECTS = 12 weeks full time (periods 5 and 6)
• External projects have UvA or VU supervisor and external day-to-day supervisor
• Internal projects can be done both at UvA and VU

Information on the web ¶

Thesis project steps ¶.

• Thesis fair
• get (access to) data and the assignment/task

Explore data and convince yourself that the task can be done with this data.

• Research questions
• Data description
• Exploratory Data Analysis (EDA)
• Ground your work in existing literature
• With your fantastic thesis design find an internal supervisor at UvA or VU.
• Midterm Supervisor can decide to stop the project.
• Hand in thesis

Warning ¶

Do not underestimate step 3

If the company cannot/does not/...not gives you access to the data before the project starts , (best before Christmas), it is strongly advised to find another project.

In previous years we had many examples were

• first 4-6 weeks were lost because data was "difficult to get"
• quality of the data turned out to be too low for the assignment/research questions

Time line ¶

• November all external projects available
• Friday the 6th of November from 17:00-19:00
• This event will be held as a webinar.
• The webinar will inform the students about the expectations for the upcoming Fair and for the thesis itself. Students will be shown a presentation about their thesis and the Thesis Fair, voting for projects and will end with a Q&A session.
• November 6 : students can start to vote for projects
• speeddates and chance meetings
• Students can meet people from the companies with external projects
• students get in touch with external advisors
• students with own project find advisor
• students prepare solid plan, research questions and obtain (and if needed, clean) data
• students find internal (UvA or VU) supervisor fitting their project Supervisor must accept the thesis design, otherwise you cannot start project.
• rest from all that thesis worries, or
• second chance for failed thesis designs/projects
• With external projects this most often include being at the company for several days a week

More Time line ¶

• Hand in project data through datanose
• Supervisor accepts thesis design: this is a go/no-go moment
• weekly meeting with your UvA/VU supervisor
• most often (partly) interning at an external organization

And if you do not make it in time?

• Last resort is to defend in the last week of August
• To have a fair comparison with your peers who did the same thing in two months less time.

no go points and reasons ¶

There are two moments when your supervisor can decide to stop the thesis project.

This means that you cannot graduate this academic year.

Insufficient thesis design ¶

• data is not (yet) available
• insufficient research question(s)
• no clear methodological research plan

Insufficient progress at midterm moment ¶

What about delays ¶.

• Not needed, and not recommended.
• Your thesis is 18 ECTS, and that is what it should be.
• Quit your job for these 12 weeks, quit everything else.
• During summer, you will receive no or hardly any supervision.
• You must defend before end of August, or enroll and pay again.
• but most of all: the quality of your thesis does not improve by delaying it
• neither does your grade! (capped at 7 for defenses in August)

Internship documents ¶

Some companies like to draft some form of contract. UvA has a template for that at http://www.uva.nl/shared-content/studentensites/fgw/fgw-gedeelde-content/nl/az/stage-in-de-master/stappenplan-stage-lopen/3.-stageovereenkomst/stageovereenkomst.html in both Dutch and English.

Thesis project period ¶

• You work mostly alone on your thesis project.

Meetings (this depends on the supervisor) ¶

• "Daily" with external supervisor
• Weekly with internal supervisor

Thesis design ¶

See slides on https://surfdrive.surf.nl/files/index.php/s/cZUYLqZx4Lv2s3e

Requirements on the thesis ¶

• Each thesis is written in Latex following the provided template
• Two column, tiny font
• Follow the template at https://github.com/maartenmarx/ThesisTemplate/blob/master/ThesisTemplate/main.pdf

Thesis project github repo ¶

• clear folder structure
• daily or weekly logbook
• thesis design
• mid term report
• thesis (drafts and final)
• all created software and (if big links to) data
• You give your supervisors (write) access to this git repository

Defense ¶

• Presentation (15 min)
• Questions (defense) (15 min)
• Grading (15 min)

Presentation

Advise: Follow Kent Beck summary.

• State the problem
• Say why it's an interesting problem
• Say what your solution achieves
• Say what follows from your solution

Defense 2 ¶

• Defense is public: everybody is welcome.
• Whole defense takes 45 minutes.
• Defenses can be combined, e.g. 2 or 3 presentation-question sessions after each otherwhich are then followed by grading and (individual) feedback.

Institute for Logic, Language and Computation

News and Events: Upcoming Events

Please note that this newsitem has been archived, and may contain outdated information or links.

(New) 10 April 2024, MoL thesis presentations - Logic and Computation

Wed, 10 April: Plenary MoL thesis presentations: Logic and Computation

17.00-17.10 Daan Schoneveld: [Subhasree Patro, Stacey Jeffery, Ronald de Haan]

17.10-17.20 Hannah Van Santvliet [Ronald de Haan]

17.20-17.30 Wietse Bosman [Ulle Endriss] (online)

17.30-17.40 questions

17.40-17.45 break

17.45-17.55 Xiaoshuang Yang [Malvin Gattinger]

17.55-18.05 Wouter Smit [Malvin Gattinger]

18.05-18.15 Yilun Wang []

18.15-18.25 questions

18.25-18.30 break

18.30-18.40 Michael Mueller [Srdjan Vesic and Ulle Endriss]

18.40-18.50 Raufs Dunamalijevs [Azim Afroozeh, Peter Boncz, Balder ten Cate]

18.50-19.00 Amity Aharoni [Benno van den Berg, Erman Acar]

19.00-19.10 questions

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ETDs: Formatting

• Policies & Procedures
• Creative ETDs
• Locate ETDs
• Publishers & ETDs
• Submission Help

Standard Format

Style Formatting Requirements

Standard ETD Format  Most theses and dissertations have followed the same format for decades and is the one your committee members used and the one with which they are the most familiar.

Sections: a) Front Matter The "Front Matter" refers to the pages in the beginning of your ETD. It usually includes the title and abstract pages. The title page contains the front matter items from title through copyright statement and is followed by the abstract page. The dedication appears on its own page, as does the author's acknowledgments. The table of contents and each list of multimedia objects appears on its own page.

Elements of front matter:

    Title [See Template: Word , Latex ]     Abstract (academic)     General Audience Abstract     Dedication (optional)     Acknowledgements (optional)     Table of contents     List of figures (if figures are included in the document) [optional]     List of tables (if tables are included in the document) [optional]     List of abbreviations (optional)

b) Body Matter The chapters of the ETD, in logical order and each with its own title, constitute the body matter. Chapter titles usually include:

    Introduction     Review of Literature     Results     Discussion     Conclusions     Summary

c) Back Matter At the end of your ETD are the references, appendices, and other back matter.

Manuscript Format

Manuscript ETD Format allows the use of articles, book chapters, and the like to replace some of the standard dissertation/thesis chapters. Prior publication of the manuscript(s) is not a requirement for using this format. In addition to the standard or traditional format for dissertations and theses, the Virginia Tech Graduate School  accepts an alternative, manuscript, format. The Manuscript ETD Format allows the incorporation of your articles, book chapters, and the like to replace some of the standard chapters. Prior publication of the manuscript(s) is not a requirement for using this format.

The following guidelines apply:

At least one manuscript (i.e., article, chapter) for the Master’s degree, or at least two manuscripts for the Doctoral degree. The manuscript(s) should be based on research done at Virginia Tech. The manuscript(s) can be previously published, to be published, or in preparation for submission.

The graduate student is the major contributor and writer of the manuscript(s), as usually represented by sole author. In the case of multiple authorship, the contribution of each author is detailed in the Introduction or separate Attribution section.

The graduate student provides the Graduate School with a letter of copyright release for previously published and/or copyrighted material.

Whether previously published or to be reviewed, the manuscript is formatted to fit within the margins acceptable by the Graduate School and satisfies all requirements for ETD submission.

a) Front Matter Elements of front matter:

    Title     Abstract (academic)     General Audience Abstract     Dedication (optional)     Acknowledgements (optional)     Table of contents     List of figures (if figures are included in the document) [optional]     List of tables (if tables are included in the document) [optional]     List of abbreviations (optional)     Preface/ Attribution (required only if the manuscripts are co-authored)

b) Body Matter Usually, the chapters are organized in a logical manner, which may include the following titles:

    Introduction     Literature Review (optional)     Title for Manuscript 1         Title         Abstract         Introduction         Materials and methods         Results         Discussion         References     Title for Manuscript 2     Conclusions         Summary         Overall model if appropriate (text or illustration if appropriate)

Page Numbering

The page number formatting is the same whether you are doing a standard or manuscript format. Use continuous pagination throughout the document.

File Format

Your ETD must consist of at least one file in PDF/A-2b (archival) format. The first page of each file must be your ETD title page. (See also file naming as part of the Submission Process.)

     PDFA-1b Tutorial for Mac Users

     PDFA-1b Tutorial for PC Users

Educopia Guidance Brief: File Formats

Graduate School Review Items

Items the Graduate School staff review for ETD approval

Templates for front matter

Title page and abstract template for unanimous approval         MS Word Template         LaTeX Template

If one or more of your committee members do not approve your work, use this title page template for split approval

Tips, Tools and Templates for LaTeX ETDs

Starting Your ETD

Acrobat         Combining multiple PDF files LaTeX     Overview and information: http://www.latex-project.org/     Useful LaTeX resources:         http://en.wikibooks.org/wiki/Latex         http://www.tug.org/tutorials/tugindia/         http://www.andy-roberts.net/misc/latex/index.html         http://www.math.vt.edu/people/borggajt/files/latex.html Microsoft Word             Formatting Page Numbers             Combining multiple documents in MS Word

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Presentation Master's thesis - Lucas de Vos - work and organisation psychology

Roeterseilandcampus, Building: A, Street: Roetersstraat 11, Room: A1.06

The COVID-19 pandemic has led to a drastic acceleration of the teleworking phenomenon. In previous research, telework has shown its advantages on the employee and organisational level. However, telework has also been connected to negative effects, such as poor organisational identification and difficulty to develop meaningful relationships, inhibiting organisational commitment. This research investigates the relation of telework and organisational commitment and examines the influences of social connectedness and role of tenure. A moderated mediation analysis (N = 180) shows a positive relation between telework and organisational commitment, which contradicts the hypothesised negative relation. Affective social connectedness seems to be a strong predictor for organisational commitment, but not in a teleworking context. The moderated mediation model was found to be non-significant. However, the conclusions of this research have implications on how employees, managers, and organisations can be trained to boost the benefits and diminish drawbacks of teleworking arrangements.    

Keywords: telework, social connectedness, tenure, organisational commitment, social identity theory.

Conservation and Restoration of Cultural Heritage

The UvA makes all MA theses available online, unless there is an embargo placed on them. You can browse the UvA MA theses repository via keywords in the search bar on  UvA Scripties Online . When a particular MA thesis cannot be found or accessed, please try to enquire with the author. Note that most theses are in Dutch until 2016, as the programme switched to English in 2015. The first MA theses in Conservation and Restoration of Cultural Heritage were completed in 2008.

Kristin Low (2022). On the Valuation of Old Repairs: perspectives from a case study of papier-mâché automata doll S2004-0615 .

Anastasia Baars (2022). The Mystery of the Foxing Stains: A research into foxing phenomenon in the Rijksmuseum collection of the Willem Witsen’s prints on Van Gelder paper .

Clodagh Burns (2022).  Searching for Patterns: Investigating the location and assessing the severity of acidic degradation or ‘Red Rot’ on historic leather book bindings.

Mariska Castelijn (2022).  Scraps, Scribbles, Stakeholders. The Applicability of Decision-Making Models for Complex Book and Paper Objects. A Case-Study into Boris Tellegen’s Two Blackbooks .

Luca van der Zande (2022).  Mercury in Mamluk Manuscripts: Block-Stamped Leather Doublures and Paper Discolouration in Islamic Bindings .

Alison Grotz (2022).  Layer build-ups, flaking and fragility levels in drawings. A case-study of Léon Spilliaert’s friable media drawings. 

Mané van Veldhuizen (2021).  A pearl is forever: Comparing facsimile methods on their characteristics, limits and potential for technical art history, conservation and the museum . 

Mirelle Zacharis (2021). Materials and Techniques of Expurgated Text: Maimonides' Mishneh Torah at the Ets Haim Livraria Montezinos.

Margot Terpstra (2020). A Wave from the Past. On the formation of wave-patterned deformation of the Lakenhal sample books .

Maria Montcalm (2020). Rough papers:  A methodical approach to a miscellaneous collection .

Fenna Engelke (2020). Visual Analysis on the Chemical Conservation Treatment Effect on Historic Lithographic Inks .

Cynthia Lam (2020). Gilt Leather Damage Atlas .

Lieve Meulenbeld (2020). Hoisting the Sails and Figuring out the Lines: a study on the working method of Willem van de Velde the Elder .

Godelieva van der Randen (2020). Paper Squeezes. A study into the material properties of nineteenth- and early twentieth-century squeezes made in Indonesia in the collections of the Leiden University Libraries .

Leanne de Wit (2018). Recognizing drying methods for waterlogged leather. A research into the possibility to distinguish the drying method carried out on waterlogged leather .

Imogen Coker (2018). Discolouration of Red Lead Paint Across a Catchpenny Print Collection, 1723-1880: A Phenomenological Survey .

Adam Macklin (2018). Mechanical Damage to Multi-Layered Scrolls caused by Storing, Handling and Exhibiting .

Julia Owczarska (2018). A cross-section is worth a thousand words: A study of methods for the sampling and preparation of cross-sections of paper .

Andrada Dănilă (2018). Adhesive stains on 20th-century coloured photo album paper: A case study of TM-ALB-2211 from the Tropenmuseum Amsterdam .

Herre de Vries (2017). The Identification of ‘Shark Leather’ on Bookbindings as Leather or Parchment. A Study of the Relationship between Macroscopical Observation and the Microscopical Determination of the Shagreen on 94 Bookbindings from 1600 till 1900

Juliet Baines (2016). Charters: Conservering en Digitalisering

Fleur van der Woude (2016). De gestage drup. Negentiende- en twintigste-eeuwse affichepapieren - papier en natbehandeling

Maartje de Boer (2014). VALSE VOUWEN IN KAART GEBRACHT. Een zoektocht naar de oorzaak van valse vouwen in strokenboeken

Femke Dijkhuis (2014). Verbrand archief, klaar voor digitalisering?

Ilse Korthagen (2014). De recente boekrestauratiegeschiedenis van Nederland en de rol die zuster Lucie M. Gimbrère daarin heeft gespeeld 

Aafke Weller (2014). Operating in the dark: an exploration of an atlas for ultraviolet induced visible fluorescence examination of paper artefacts

Sanne van Bergenhenegouwen (2012). De constructie en conservering van beweegbare boeken. Een case-study van de Meggendorfer-Collectie, Bijzondere Collecties Amsterdam

Roosanne Kliphuis (2012). De collectie Carel Visser. Een onderzoek naar foxing op Japanse stijl papier

Kim Mulder (2012). Handaanvezelen op de onderdruktafel met toevoeging van bladvormende additieven aan de pulpoplossing. Het verkrijgen van een gelijkmatige papierlaag met optimale vezelverdeling

Rachelle Keller (2011). Vergipsing. Een bijzondere schade bij perkamenten boekbanden

Alexandra Nederlof (2011). Vetkrijt, waskrijt of oliekrijt? Welk gekleurd krijt heeft Vincent van Gogh in zijn tekeningen gebruikt? Een onderzoek naar gekleurd krijt met een bindmiddel van was, olie of vet in de periode 1850–1910

Judith Geerts (2010). Lichtschade aan gekleurd werk op papier. Onderzoek naar een gedifferentieerd

Jean Marieke Poot (2010). Lichtschade? Een onderzoek naar de randverkleuringen op aquarellen uit de Druckercollectie

Hilde Schalkx (2010). Het spoelen van watergevoelige objecten van papier. Capillary unit  of blotter wash?

Koosje Ruijgrok (2009). Het restaureren van de Enkhuizer librije. Ethiek en esthetiek binnen een restauratie-project

Marie Ducimetière (2021). The impact of technological shift on institutions’ preservation strategiesResearch on Peter Struycken’s early works DISP, BLOCKS and SHFT-34.

Floortje Evelein (2021). Preserving PIXI: Evaluating the Applicability of Risk Assessment Methodologies to an Outdoors Interactive Site-specific Software-based Art Installation.

Marieke Voogd (2021). Caring for Annelies, looking for completion (2018): a Case-Based Risk Assessment into the Value and Vulnerabilities of a ‘Fleshy’ Robotic Artwork.

Erica Loh (2021). Afterlife Choices for Botanical Art: Conserving Sjoerd Buisman’s Growth Installations.

Anthi Soulioti (2021). Materiality in Flux: The diagnosis of Ryan Gander’s “Investigation # 92: With heart dotted ‘i’s” (2013).

Brum, Olivia (2019). The Lives of Internet Artworks in Institutions: How to Begin to Construct a Long-term Conservation Strategy.

Janson, Stefanie (2019). Assessing Value and Vulnerability for the Elements of Lydia Schouten's Installation 'Shattered Ghost Stories'.

Kramer, Daphne (2019). Preservation of virtual reality artworks. Diagnosis to determine viable conservation strategies.

Kruithof, Marieke (2019). Conservation of time-based media artworks in the public space. A research into 5 case studies in the city of Amsterdam, The Netherlands.

Levie, Lihi (2019). Projecting to the Future. Conservation of slide projectors in slide-based installations.

Eline van der Velde (2018). Art under tension: research into Emmy van Leersum’s  Verbeeldingen.

Hedwig Braam (2017). Conserving Socially Engaged Art. A study of  Rookgordijn  by Fransje Killaars.

Claire Molgat Laurin (2017).  Defining and Characterizing a Monitor Light Installation:  Forma Lucis VI , Roos Theuws (1989) .

Alice Watkins (2017).  The Inside of Technology-based Artworks.   A study of Woody van Amen’s  Ice Machine series.

Laura Wolfkamp (2017).  The involvement of the artist in the conservation of contemporary art

Carien van Aubel (2014). De Ontrafeling van Gebreid Polyamide; Onderzoek naar het ontstaan van mechanische schade bij kunstwerken uit gebreid polyamide.

Katja van de Braak (2014). Maak het bont. Een onderzoek naar de reinigingsmogelijkheden van imitatiebont in kunst.

Anouk Verbeek (2014). Het verlijmen van polypropyleen kunstvoorwerpen. Een onderzoek naar de geschiktheid van commerciële polypropyleenlijmen voor gebruik binnen de restauratie van moderne en hedendaagse kunst.

Nikki van Basten (2013). Het retoucheren van beschilderde metalen buitensculpturen als onderdeel van een lokale behandeling.

Sjoukje van der Laan (2013). The conservation of degraded and cracked polyurethane ether elastomer in modern art and design. Cause, treatment and future prospects.

Marleen Wagenaar (2013). Licht op lichtkunst. Documentatie en verval van ruimtevullende lichtkunst – een onderzoek aan de hand van  Wedgework III  (1969) van James Turrell.

Ellen Jansen (2010).  Survival of the  Survival Series . Conserveringsstrategieën voor lichtkranten met een intern geheugen.

Karolien Withofs (2010). Elektrisch aangedreven kunstwerken: kijk op de praktijk. Met twee casestudies van Jan van Munster.

Elisa Schöne (2008).  Wit - Goed - Wit. Een onderzoek naar de mogelijkheden tot het exposeren van een bed in Joep van Lieshout’s  Mobile Home for Kröller Müller.

Theresa Evelyn Costello (2021). Diagnostic Investigation into a Cracking Phenomenon on the Mouthpieces of Seventeenth-Eighteenth Century Glass Horns .

Charlotte Wiechmann (2021). Research into the Degradation of the Elements Inside the Cages of Two Birdcage Vases .

Jennifer Ann Green (2021). Adhering to Artist’s Intent: Developing Diagnostic Strategies for Original Artists’ Adhesives .

Nienke Prangsma (2021). Dark-coloured prehistoric pottery: post-depositional change or firing technique ?

Marleen Beelen (2021). Causes for the powdering and deterioration of Shokan clay objects in the Rijksmuseum van Oudheden .

Bedford, Zoe (2019). What factors lie behind the unintentional formation of rainbow coloured bands in the artwork “Prisma Raam” from the glass artist Anna Carlgren? An investigation in UV adhesives in contemporary glass artwork.

Korstanje, Fiep (2019). Surface Coatings on Terracotta Objects from Boeotia and Taranto 400-200 BC – the influence of composition on the susceptibility for detachment.

Peeters, Jamilla (2019). Object Hybridity and the Diagnostic Process in Conservation. A case-study of an Islamic ceramic elephant from the collection of the Gemeentemuseum Den Haag.

Symons, Tegen (2019). An Investigation into the Influence of Composition and Manufacture on the Differences in Deterioration between two mid-19th Century Silvered Glass Objects from the Netherlands Openluchtmuseum, Arnhem.

Todd da Silva, Raven (2019). Investigations into Black Spots on Egyptian Limestone Bowls from the Rijksmuseum van Oudheden, Netherlands.

Wagner, Julia (2019). Research into the Deterioration of Lacquer Decoration on a Japanese Porcelain Bowl from Huis ten Bosch Palace.

Corinna de Regt (2017).  Conservation issues related to Egyptian faience: A closer look at damaged shabti from the Dutch National Museum of Antiquities

Anne Rupert (2017).  The degradation of the 19 th century Udelfanger sculptures at the Sint-Jan Cathedral in Den Bosch and the possible relation to a former cleaning treatment in 2010

Caitlin Southwick (2017).  Historic Infills on a 16th Century Italian Marble Sculpture from the Collection of the Rijksmuseum Amsterdam

Roy van der Wielen (2017).  Blue enamel on glass: an investigation into microfracturing and material loss of 17th century copper and cobalt blue enamel

Niké Haverkamp (2015). Een Schitterend Gegraveerd Oppervlak: Een onderzoek naar de overwegingen die moeten worden gemaakt bij het omgaan met verweerde lagen bij archeologisch glas naar aanleiding van de conservering van een Romeinse glazen kom (APM15936) van het Allard Pierson Museum, te Amsterdam

Laura Mavrichi (2015). A "riveting" lebrillo. A research on the treatment possibilities for the restoration of a riveted majolica large basin from Triana (Seville)

Frederike Burghout (2013). Koude beschildering op delfts witgoed plastieken. Een onderzoek naar samenstelling, vervaardiging, degradatie en conservering

Ingeborg Laanbroek (2013). De conserveringsproblematiek bij lijmen van bergkristal

Anniek Manshanden (2013). Fumed Silica - zijn invloed op de veroudering en vergeling van epoxies

Michiel Overhoff (2013). Zinc cement-pastes as fill-material for Dutch tin-glazed tiles in situ

Cornelia Görlich (2012). An overview of systems used for the protection of stone sculptures in an outdoor environment

Roosmarijn van Beemen (2010). Bonding techniques in the restoration of cast plaster sculptures

Nienke Besijn (2010). Een lichtje laten schijnen over UV-lijmen. Een onderzoek naar het gebruik en veroudering van vier UV-lijmen voor toepassing binnen de glasrestauratie

Marijke Top (201). The significance of the refractive index of epoxy adhesives and glaze in the result achieved when bonding Chinese porcelain

Nicolas Verhulst (2009). Onderzoek van oppervlaktelagen op Maaskalksteen in de binnenhal van het stadhuis te Maastricht.

Kendall Chapman.  Trial by Fire: Architectural Finishes Research on a Fire-damaged Early 18th Century Polychrome Chimneypiece .

Daniëlle Stobbe.  BACK TO THE FUTURE  A Master thesis on the usability of virtual reality by the conservator to clarify and visualize the results from Architectural Finishes Research performed on a national monument, based on a case study of Het Kabinetje (room 1.06 of Huis Oudegein) .

Manon Esther Antenbrink.  The behaviour index for historic interior objects. A case study on the use of the behaviour index in the decision-making of the presentation of historic interior objects .

Kristina Kusakina.  Investigation into the ETA paint by Royal Talens: Case study of Jaap Ploos van Amstel panels.

Jasmijn Krol (2020). Wall Painting Retouching Techniques in the Netherlands .

Valentina Gatto (2020). Structural Detachments in Lime-based Wall Paintings: Causes, identification methods and decision-making - case study of Maria Church, Nisse .

Emma Egberts (2020). Visualizing the Fort. An investigation into the use of 3D modelling for the conservation and restoration of a fort of the defence line of Amsterdam .

Maartje Stoop (2018). Research into the effects of a strappo treatment on a Post-War wall painting.

Santje Pander (2018). The UNESCO-pressroom. Conditions for the reconstructions of the linoleum floor.

Julia van Velzen (2018). How to digitally reconstruct the historical finishing layer found through architectural paint research in the Regentenkamer of the Arend Maartenshof in Dordrecht?

Aafje Wardenaar (2018). Degradation of decorative layers on gilt leather wall hangings A comparative study into the discoloration of green paint on two sheets of the gilt leather from the Regent’s room in the Burgerweeshuis in Enkhuizen .

Jasmine Guest (2018). Material Analysis of the Composition Ornamentation in Rooms 129 and 132 at Kasteel de Haar .

Iris Broersma (2016).  De burcht opent haar deuren. Onderzoek naar de openstelling van de historische interieurs van Castrum Peregrini

Megan Kisters (2016). Behangreconstructies in het Van Doesburg-Rinsemahuis: een synthese van fragmenten

Renate Oosterloo (2016).  Tussen corrosie en metaalzeep

Lynn van Rijnsoever (2016). Oude normen, nieuwe waarden. Over de waarden van oude restauraties op de zestiende-eeuwse muurschildering ‘De Kruisdraging’ in de St. Joriskerk te Amersfoort

Nina Timmer (2016).  Een overschilderd schouwstuk uit Leiden. Een onderzoek naar een overschilderd schoorsteenstuk en de kleurhistorische gelaagdheid op de rococo omlijsting

Vera Tolstoj (2016).  Een gekleurd verleden? Onderzoek naar de originele kleurstelling van een achttiende-eeuws stucplafond en de afwerkingsgeschiedenis van een Amsterdams interieur

Antje Verstraten (2016). Idee tegenover praktijk: Onderzoek naar de oorspronkelijke blauwe verflagen in het Van Doesburg-Rinsemahuis.

Leonie van Dalen (2014). Een tweede leven: de ontwikkeling van een leidraad voor de besluitvorming omtrent de herplaatsing van verweesde beschilderde historische plafonds.

Lise Wolfert (2014). Schildersmethoden en -materialen in de wederopbouwperiode 1940-1965.

Jessica Hensel (2013). De toxiciteit van het pigment orpiment in historische interieurs.

Karin van der Lem (2013). Monumentale wandkunst in de twintigste eeuw. Reversibele restauratie mogelijkheden voor muurschilderingen vervaardigd met dampdoorlatende Keimverf op poreuze ondergronden.

Martine Posthuma de Boer (2012). De verdonkering van goudleer in Nederland. Een karakterisering van de degradatieverschijnselen in de zilver- en vernislagen bij twee case-studies: Sint Pietershof Hoorn en Weeshuis der Hervormden Schiedam.

Jonathan Gration (2011). Oriëntaals Heeswijk. Bestudering en reconstructie van een lakwerk interieur.

Annemieke Heuft (2011). Koolteer voor de schilder; Een materiaalhistorische studie van een 19e-eeuwse koolteerverf op de orgelkas in de Westerkerk in Enkhuizen.

Hinke Sigmond (2011). Sprekend verleden, bron voor de toekomst. De toepassing van oral history in historische binnenruimten en de restauratiegeschiedenis van de jaren ’70.

Willianne van der Sar (2010). De marouflagetechniek van Jan Dunselman in de HH Laurentius en Elisabeth Kathedraal in Rotterdam, een materiaaltechnisch onderzoek aan het Laatste Avondmaal.

Merel van Schrojenstein Lantman (2010). Herkenbaarheid van houtimitaties uit de periode 1750-1800 in de Noordelijke Nederlanden.

Rosan Scheres (2009). De verborgen Cuypers in het Rijksmuseum; een Maastrichtse muurschildering in een Amsterdams museum.

Anna Zwagerman (2009). Sandstone, marble and paint; An investigation into the history of the walls and vaulted ceilings of the main public spaces in Amsterdam’s former Town Hall, with a side note to Atlas’ sphere.

Sophie van Gulik (2008). Giovanni de Groot & zijn muurschilderingen in het voormalige Amsterdamse stadhuis op de Dam.

Minette Kuijf (2008). Lodewijk Napoleon op de Dam. De verandering van stadhuis tot paleis en het onderzoek naar deze verdwenen periode.

Dagmar Beyaard.  NIRME (Near-Infrared for Metals): Researching the Applicability of a MicroNIR for Identifying and Monitoring Protective Organic Coatings on Outdoor Bronze Sculpture

Rosemie Coppens.  Diagnostic Investigation into Ghosts of Spray Paint on Weathering Steel; Case study of an Outdoor Sculpture by Donald Judd in the Kunstmuseum in The Hague .

Meghan Parker.  Foreign Porcelain: Diagnostic Characterization of 18th Century Chinese Enamels.

Amelia Hammond.  An Investigation of Treated Cupreous Wreck Finds from the Hollandia Collection .

Emma van Duin.  A Study into Historical Frosted Silver Surfaces. Case Study: the Bonebakker Portrait .

Manuela Toro Silva-Diaz (2018). Formation of lead oxides and the development of a dark red patina in outdoor lead sculpture .

Ke-Shiuan Han (2018). Examination of the Authenticity of Inscriptions on Historical Metal Objects. Case Study: A Roman Gilded Silver Helmet & A Tinplated Can .

Sandra Savelli (2018). Metal threads in 17th century textiles: art technological research based on the findings of Burgzand North 17 shipwreck .

Ingeborg Kroon (2016). Een pronkstuk ontrafeld. Onderzoek naar de constructie van de zilveren schraagtafel van het Rijksmuseum en de gedane ingrepen

Elisabeth Kuiper (2016). Studie naar de levensloop van een Zuid-Italische krijgershelm en een set scheenbeschermers

Marianne Nuij (2016). Een uitbloeiend fenomeen. Een onderzoek naar de oorzaak en preventie van de groei van onbekende kristallen op messing sculptuur Zwemmende Vrouw

Iris Mahu (2014). De corrosie remmende werking van corrosie inhibitoren in waslagen. Getest op messing in een mierenzuurrijke omgeving

Marianne Pronk( 2014). Het effect van commercieel verkrijgbare biologisch afbreekbare ontroesters op historische ijzeren objecten en hun toepasbaarheid in conservering en restauratie

Heleen van Santen (2014). The Cleaning of Sterling Silver with Acidified Thiourea Cleaning Solutions: Solution Recipe Optimization

Stefania Lorenzotti (2013). Coatings on bronze and visual alteration of the surface. Researching an adequate coating system for archaeological bronzes utilised for microscopic investigation

Jeroen van Halder (2012). Organisch malmateriaal in cire perdue mallen. Verkenning naar de praktijk in de Italiaanse Renaissance

Suzanne van Leeuwen (2012). Authentiek, vervalst, gerestaureerd of pastiche? Een onderzoek naar twee Renaissance juwelen uit de collectie Mannheimer in het Rijksmuseum Amsterdam

Julia Leunge (2012). Acetylacetone. Onderzoek naar de reiniging van messing op meubelen

Katie Mol (2012). Archeologisch roest. Een onderzoek naar de mogelijke effecten van de opslag van archeologisch ijzer tijdens en direct na archeologische veldwerkzaamheden

Marije Meddeler (2011). Het etsen van zilver. Technologie, toepassing en herkenning

Arie Pappot (2011). Lokale behandeling van bronspest. Met natriumsesquicarbonaatoplossingen

Tamar Davidowitz (2010). Painted silver: the use of color on the Merkel table piece

Rozemarijn van der Molen (2010). Droogijsstralen. Dé reinigingstechniek voor metalen?

Nikita Shah Nikita Arvind (2021). Demystifying Lining - The Genesis, Evolution and Historiography of the Mist-Lining Technique developed by SRAL (mid 1990s-current).

Noah van der Meer (2021). Vision of H. Lutgard of Tongeren (1700-1799). A research into the influence of heat on lead soap migration in relation to formation of a surface crust on an eighteenth-century oil painting.

Jessie Carter (2021).  Using Reconstructions to Study Color Change of a Smalt Paint Mixture in The Night Watch.

Elizabeth Mc Neil (2021). The effect of wax-resin impregnation on the darkening of ground and smalt in the Night Watch.

Momoko Okuyama (2021). Investigation into the development and application of a diagnostic framework for identification of fatty acid efflorescence on paintings.

Paul Kisner (2021). The composition and impact of tinted varnishes applied by C. de Wild and J.C. Traas in the Mauritshuis between 1900 and 1961.

Sofie Dubbeldam.  An investigation into whitened paint areas on a painting by Adriaen Cornelisz Beeldemaker, Dogs in a landscape . Winner of the Rijksmuseum Migelien Gerritzen thesis award 2019 (see press release ).

Harðardóttir, Steinunn (2019). Research into paint surface alterations on 'Untitled, 1994' by Georg Guðni.

Jerdoneková, Ivana (2019). The Discolouration of Eosin-Containing Flesh Tones in Vincent van Gogh’s Late Portraits.

Molenaar, Christa (2019). A Cloudy Appearance: An Investigation into the White Haze on Jacobus van Looy's Kinderen.

Schilder, Jolijn (2019). Léo Marchand's 'Ontlijming' Treatment. An investigation of a size removal method performed by Léo Marchand between ca. 1950-1990.

Rosa Boute (2017).  An investigation of delamination phenomena present on a painting by Joseph Paelinck, The Toilet of Psyche .

Alma Jongstra (2017). Strandgezicht by J.E.H. Akkeringa, a study into the causes of the delaminating paint film.

Marjolein Hupkes (2017). Delamination on two unlined paintings. A study of the condition of two seventeenth-century portraits by Jan Weenix from the collection of the Rijksmuseum depicting Silvester van Tongeren and Maria Cornelisz.

Noa Kollaard (2017).  Shedding light on diafanoramas. A research into the causes of paint delamination on a set of three diafanorama plates in the collection of the Rijksmuseum .

Madeleine Vaudremer (2017)​.  Manifestations of Degradation in Synthetic Ultramarine Paints: Case Studies from the Collection of the Rijksdienst voor het Cultureel Erfgoed .

Sepha Wouda (2017).  Too Hard to Handle. Cupping Paint on a Seventeenth-Century Glue-Lined Painting .

Juul Bierings (2015).  Spoorloos vernist? De ontwikkeling van een analysemodel voor onderzoek naar de originaliteit van schilderijvernissen met een toepassing op zeven schilderijen van George Hendrik Breitner in de collectie van het Rijksmuseum Amsterdam .

Jazzy de Groot (2015).  Oude Arlésienne  (1888). Van esthetisch object naar waardevol fragment. Omgang met lacunes in relatie tot de functie van een schilderij .

Diana de Man (2015). Invloed van smalt in de Homerus (1663) van Rembrandt- reconstructie en analyse.

Michelle Vergeer (2015). Schouwstukken beschouwd. Een restauratieadvies op basis van de samenhang tussen vier schouwstukken uit Paleis Huis ten Bosch.

Femke van Gurp (2014). BIJZONDERE ARCHIEFVONDSTEN BIJ TALENS. Synthetisch ultramarijn donker olieverf in de historie van een twintigste eeuwse verffabrikant.

Mirjam Hintz (2014). A study of the influence of stretching methods onto cusping patterns in canvas supports.

Maranthe Lamers (2014). Lithopoon doorgrond. Een uitleg van de degradatie van lithopoon houdende gronderingen van Vincent van Gogh.

Lieve d'Hont (2013). De effectiviteit van waslagen op de achterzijde van paneelschilderijen als vochtbarrière bij wisselingen in relatieve luchtvochtigheid.

Zuhura Iddi (2013). Droge reiniging. Het effect van zes soorten residuen op ongeverniste olieverflagen.

Laura Kolkena (2013). Degradatieverschijnselen van gele cadmiumolieverven in de schilderijen van Piet Mondriaan.

Sara Molinari (2013). Witte vlekken op ongeverniste schilderijen van Willem Witsen. 

Laura Raven (2013). Historische lijm-stijfsel bedoekingen van schilderijen. Historisch bronnenonderzoek en de creatie van een referentie set voor FT-IR analyse.

Marya Albrecht (2012). Klein maar fijn. Loodwit in fijne deeltjesgrootte.

Stéphanie Avril (2011). ‘De Heilige Agnes’. Een schilderij met pressbrokat uit de Noordelijke Nederlanden.

Melissa Daugherty (2011). Dilemma’s in de restauratie. Handreiking voor de restauratie van schilderijen met latere toevoegingen die bijdragen aan de identificatie van de geportretteerden.

Hannie Diependaal (2011). De schilderkist van Breitner en de kleuren van Standage.

Corina den Hollander (2011). De reconstructie van een mummieportret. Een analyse van materiaalgebruik en vervaardigingsprocessen van vijf mummieportretten van het RMO.

Femke van der Knaap (2011). Luitsen Kuiper. De praktijk van een restaurator.

Jorinde Koenen (2011). In de wolken met Willem Beurs? Een onderzoek naar de waarde van ‘De groote waereld in ‘t kleen geschildert […]’ (1692) van Willem Beurs als kunsttechnologische bron.

Saskia van Oudheusden (2011). De uitvoering van was-hars bedoekingen door Johannes Albertus Hesterman (1848-1916) en zonen. Een onderzoek naar hun werkwijze en materialen.

Lise Steyn (2011). Van Gogh’s cobalt blue. Research into the possible causes for trace elements found by means of SEM-EDX in two distinct variants of cobalt aluminate used by Vincent van Gogh 1886-1910.

Julia Vandenburg (2011). The hand of a master. Technical research into the paintings of Jacob Backer (1608/09-1651).

Nadine Faber (2010). 'De mens' terug in restauratie. Het belang van kennis over visuele perceptie en onderzoeksmethoden uit de psychologie voor restauratoren.

Stefanie Litjens (2010). Nederlandse olieverftubes uit de twintigste eeuw.

Susan Smelt (2010). Regeneraties uit het verleden bieden geen garantie voor de toekomst. Hoe de wens van Max von Pettenkofer voor het onveranderd behouden van het schilderij toch blijkt bij te dragen aan het verval van het schilderij. Het ‘ portet van Otto Heurnius’  [SA 3339] als casus voor de invloed van de regeneratiebehandeling en de washarsbedoeking.

Nienke Woltman (2010). Het geheim van vluchtige oliën. De toevoeging van vluchtige oliën aan het olieverfmedium in de zestiende-eeuwse schilderpraktijk van de Lage Landen.

Lidwien Wösten (2010). Blotting. Onderzoek naar het gebruik van blotting in 15de en 16de eeuwse schilderijen van de Leidse School.

Sophie de Behault (2009). Blue-hued scattering in Dutch Golden Age paintings.

Lousco Grasman (2008). Schitterende illusie. De weergave van metalen in de zeventiende-eeuwse Hollandse schilderkunst.

Oleg Karuvits (2008). Verkleuring als gevolg van het schilderen op ongegrondeerd doek en washarsbedoeking, naar aanleiding van ‘De nachtelijke samenzwering van Claudius Civilis in het Schakerbos’ van Govaert Flinck and Jurgen Ovens.

Lisette Vos (2008). Het retoucheren van "zwarte" verven: een verheldering. De verf en de retouche in 17de-eeuwse schilderijen van Nederlandse makelij.

Paula Ogayar Oroz.  To colour a mirror. Identification of Hand-colouring techniques in daguerreotypes by studying and reconstructing.

Wyke Valkema.  An Investigation Into Orange Spots On Chromogenic Photographs.

Tessa Maillette De Buy Wenniger (2020). The Quest Towards a Non-destructive Identification Method for Polaroid Integral Film Types .

Ella Solomon (2020). The Effects of Finish Coatings on Ultraviolet and Visible Light Stability of Inkjet Prints .

Rahul Sharma (2020). Daubing Titipu. Colourants in Japanese Albumen Prints.

Karien Slijpen (2020). Colors on Photographic Film-based Black and White Negatives: a study into the causes of regenerated anti-halation dyes.

Edith Sten (2020). The Transitional Prints of Gustave Le Gray.

Eet Ming Ng Eet Ming (2020). How does sodium borohydride intensification change an albumen photograph? -An assessment of its visual impact on the image.

Suk Fong Chun (2020). Cibachrome Inside Out: Identification of Silver Dye Bleach Prints.

Kayleigh van der Gulik (2017).  Shedding light on photo linen: Defining an atypical silver gelatin developing-out material .

Magdalena Pilko (2017).  Electrotyping Daguerreotypes: Reconstruction of an Early Reproduction Technique .

Clara Waldthausen (2014). Coatings on 19th Century Paper Photographs: Guidelines for Identification.

Anne-Sofie Hamers (2021). The illuminator’s practice: a study on the Ms. xxv c38 of the Allard Pierson, Amsterdam.

Ingrid Kramer (2021). Masses in hides: a pioneer technical characterization of the materials and techniques of a gilt leather chasuble .

Paul Van Laar (2021). Illuminating the Obscure: An investigation into the complex relationship between optics and art through the works of Johannes Vermeer (1632-1675) .

Anneke Hoekstra (2020). Writing the Biography of a Notebook. Interpreting a richly decorated baroque notebook from the collection of the Rijksmuseum Amsterdam .

Fahed Ibrahim (2020). Investigation into the Original Appearance of Hanemans’s Skirt in Frans Hals's 'Portrait of Aletta Hanemans'.

Bul, Suzanne (2019). In Pursuit of the Original Appearance: The examination of the Madonna and Child (SK-A-3414) of the Rijksmuseum: an inquiry into technique, function and attribution.

Daal, Jan van (2019). Ancient Incarnations: Depicting Human Flesh in Mummy Portraits from Roman Egypt.

Greening, Tim (2019). Eggshell in Artistic and Alchemical Recipes: Late Antiquity to 1800.

Pollard, Marélise (2019). Gold Thread Manufacturing in the 17th-Century Netherlands.

Laurens van Giersbergen (2019). Wilting Sunflowers. Chrome Yellow Ageing in Van Gogh’s Sunflowers.

Kirsten Derks (2017).  Blue cabbages and invisible onions: Discolouration in the oeuvre of Joachim Beuckelaer .

Samuel Johansson (2017). The conservation history of the Seven Works of Mercy by the Master of Alkmaar.

Moorea Hall-Aquitania (2017). The Italian Manner. Investigating the use of colored grounds in sixteenth-century Italy.

Lisanne van den Heuvel (2017).  Intention and execution: investigating the meaning of the colours in Theo van Doesburg's Flower Chamber .

Ilse Steeman (2017).  In Search of the Origin of the Flood: Investigating a Painting with an Uncertain Attribution and Date in the Collection of the Rijkmuseum in Amsterdam .

Indra Kneepkens (2012). Understanding historical recipes for the modification of linseed oil. An experimental study into the properties of modified linseed oils for use as binding media in early northern European panel painting.

Willemijn Bolderman (2021). A sticky situation: The relation between the storage circumstances and the condition of adhesive treated large-format flags in the National Military Museum .

Charlotte Fenton (2021). Can visualisations inform decisions on textile treatment? An analysis of textiles in the doors of Czar Peter's box bed.

Danicia van Glanen-Weijgel (2021). Suwide in the UNESCO Press Room A Study on the degradation of Suwide, a coated textile used as upholstery of four Gerrit Rietveld fauteuils.

Mengying Zhang (2021). Start-up Research: RCE Online Tool for Textile Conservation.

Dekkers, Lorena (2019). Past lives. A study on the condition of an eighteenth-century justaucorps.

Moreno Parada, Maria Jose (2019). A cap? A collar? A 17th century puzzle from the Rijksmuseum collection: A case study on object interpretation in textile conservation.

Lieke Boerstra (2017).  Wool, Silk & Salt .

Paulien Coopmans (2017).  Travelling through textiles: The exploration of fragile textiles through 2D and 3D imaging .

Annelena de Groot (2017).  Improving understanding: How a replica (approach) can improve understanding of flatlying textiles .

Hanneke Kramer (2017).  Diving into Details... Reconstructing the research and the practices of the textile collection found at shipwreck Burgzand North 17 .

Renate van Oosterhout (2017)​.  De schade ontrafeld. Een onderzoek naar de oorzaken van schade aan een rode wollen tuniek .

Marijke de Bruijne (2015).  Bloedend rood. Uitlopende rode kleurstof in textiel rond 1900 .

Sjoukje Telleman (2015).  Verkleuring van zwarte viscose, het tot bruin verkleuren van zwarte viscosepassementen op een zwartzijden jas uit 1897-1910 .

Marjolein Koek (2012). Behandeling van vergeling in struisvogelveren.  Onderzoek naar de oorzaak van vergeling en mogelijke reiniging van struisvogelveren als onderdeel van een kostuum.

Marjolein Homan Free (2010). Het gebruik van Vanish Oxi Action Intelligence plus op historisch textiel. Onderzoek naar de schadelijke werking van een huishoudmiddel voor het reinigen van historisch textiel.

Daphne Reijs (2010). De oudheid bewaard voor de toekomst. Een onderzoek naar de conservering van archeologisch textiel.

Joni Steinmann (2010). ‘Majestueus & Hemels’. Negentiende eeuwse blauwe kleurstoffen in de Rijksmuseum kostuumcollectie. Vroege kleurstoffen in kostuums: onderzoek naar de staat van textiel in relatie tot de kleurstof.

Mair Trueman. By the Living, For the Dead: Constructing the Coffins of Gautseshen

Kirby Martino.  Understanding Original Bronze Powder Based Finishes on Nineteenth Century Picture Frames

Aspasia Kopsida.  Investigating three 20th century marquetry tables: looking for traces and indications of the original colourants with the use of multispectral camera .

Annemarie Hollants.  Made to Last: The Influence of Animal Glue Preparation on the Behaviour of Glued Joints Found in Historic Objects .

Julia Nijhoff.  Patina, Historicism and Pieneman’s Cabinet. The Use of Tinted Varnishes on Furniture in the 19th Century.

Lucas Mantel (2020). Running Out of Time. Onfinding a fitting decision-making framework for the conservation of modern wooden art .

Welmoed Kreb (2020). Identification of Toolmarks on Furniture .

Maxx Folmer (2020). A Sticky Situation – Investigation of four waterlogged wooden objects that leach consolidant and appear excessively dark.

Sterre van der Weerd (2020). Batik on Wood. Historiographic and optical investigation of Dutch batiked wood1900-1930. With additional case study of a batiked wooden box by Louis Bogtman.

Vidar Thijssen (2018).  The use of advances in technologies for restoration practice: in the reintegration of lost veneer .

Elise Andersson (2016). Study of a 17th-century European Lacquered Dutch Cabinet: Material-technical analysis to gain insight into the deteriorated surface.

Mathijs Terstegen (2016).  De invloed van absolute inherente krimp, ladeconstructie en (micro)klimaat op het schadebeeld van eikenhouten ladebodems binnen de museale omgeving .

Stephan de Vries (2016).  Reconstructie-onderzoek Chambre d’Ami, Villa Noailles, Hyères .

Bram van der Wende (2016).  Wieg ontworpen door Cornelis van der Wilk. Onderzoek naar het oorspronkelijke uiterlijk van het meubel ten tijde van de Wereldtentoonstelling van Parijs in 1925 .

Federica van Adrichem (2015). Retoucheren met licht. Een alternatieve methode voor het restaureren van ontkleurde synthetisch anilinebeits-afwerkingen op monochrome Amsterdamse School meubels.

Gert van Gerven (2014). Wat buigen van hout inhoudt.

Jasmijn Groeneved (2014). De verkleuring en ontkleuring van synthetische kleurbeitsen op houten meubelen: een zoektocht naar de originele kleurlaag.

Machteld Jacques (2014). Het reinigen van hout zonder afwerking: een vergelijkend onderzoek naar droogreinigingsmiddelen.

Bianca de Góes (2013). Een klimaat voor Van Mekeren. Relatie tussen grootte en duur van RV-fluctuaties en het risico op mechanische schade aan gemarketteerde meubels.

Thomas Michgelsen (2013). Het losmaken van houtverbindingen gelijmd met commerciële polyvinylacetaatdispersies.

Jettie Timmer (2013). Synthetische kleurstoffen als beits op hout. Onderzoek naar de ontkleuring van beitsen van synthetische kleurstoffen op hout in combinatie met de verkleuring van het hout.

Tess Graafland (2012). Originele vergulding op negentiende-eeuwse pâtelijsten. Onderzoek naar historische verguldtechnieken.

Thijs Janssen (2012). Reconstructie van robbellijsten met behulp van moderne technieken. Een onderzoek naar 3-d scannen, cnc-frezen en 3-d printen.

Laura Koster (2012). Onderzoek naar de restauratiegeschiedenis van de zeventiende-eeuwse Zeeuwse kast.

Boudewien Westra (2012). Onderzoek naar de originaliteit van de afwerklaag op de ladekast in het Jachthuis Sint Hubertus.

Auke Gerrits (2011). Een onderzoek naar kastsloten uit de 18e eeuw.

Sophie Glerum (2011). Afwerklagen op meubelen 1800-1900. Reconstructies van negentiende-eeuwse afwerklagen op basis van onderzoek naar contemporaine bronnen.

Diederik Kits Nieuwenkamp (2011). De aanvulling van lacunes in een transparante afwerklaag met verouderingstextuur op een houten ondergrond. Een buiten het object gevormde aanvulling met textuur.

Helbertijn Krudop (2011). De rokken gelicht. Een onderzoek naar constructies van Nederlandse achttiende-eeuwse rococo commodes.

Dave van Gompel (2010). Restaureren met stickers. Het gebruik van transferstickers in de meubelrestauratie.

Saskia Smulders - de Jong (2010). Chemische beitsen; een onderzoek naar de lichtechtheid en identificatie van drie metaalzout-beitsen op eikenhout.

Tamara Venema (2010). De boekenkasten in de bibliotheek van het Rijksmuseum.

Sanne Berbers (2018). Historical formulations of lac lake pigments and dyes: a study of the compositional variability .

Guus Veraar (2012). The investigation of the use of ion chromatography for identification of early stages of glass sickness.

Prize winners Rijksmuseum-Migelien Gerritzen Thesis Award

2021: Theresa Costello,  Diagnostic Investigation into a Cracking Phenomenon on the Mouthpieces of Seventeenth-Eighteenth Century Glass Horns - Press release:  Theresa Costello wins Rijksmuseum Migelien Gerritzen thesis award 2021

2020: Margo Terpstra,  A Wave from the Past: On the formation of wave-patterned deformation of the Lakenhal Sample books - Press release: Margot Terpstra wins Rijksmuseum-Migelien Gerritzen thesis award 2020

2019: Sofie Dubbeldam, An investigation into whitened paint areas on a painting by Adriaen Cornelisz Beeldemaker, Dogs in a landscape] (2019). - Press release: Sofie Dubbeldam wins Rijksmuseum Migelien Gerritzen Thesis Award 2019

2018: Kirsten Derks, Blue cabbages and invisible onions: Discolouration in the oeuvre of Joachim Beuckelaer (2017). - Press release: Kirsten Derks wins Rijksmuseum-Migelien Gerritzen Thesis Award 2018

2017: Magdalena Pilko, Electrotyping Daguerreotypes: Reconstruction of an Early Reproduction Technique (2017).

2016: Megan Kisters, Behangreconstructies in het Van Doesburg-Rinsemahuis: een synthese van fragmenten (2016).

2015: Michelle Vergeer,  ‘Schouwstukken beschouwd. Een restauratieadvies op basis van de samenhang tussen vier schouwstukken uit Paleis Huis ten Bosch’ (2015).

2014: Gert van Gerven, Wat buigen van hout inhoudt (2014).

2013: Marleen Wagenaar, Licht op lichtkunst. Documentatie en verval van ruimtevullende lichtkunst – Een onderzoek aan de hand van Wedgework III (1969) van James Turrell (2013). - Press release: Marleen Wagenaar wins Rijksmuseum-Migelien Gerritzen Thesis Award

2012: Martine Posthuma de Boer, De verdonkering van goudleerbehang in Nederland. Een karakterisering van de degradatieverschijselen in de zilver-en vernislagen bij twee casestudies Sint Pietershof Hoorn en Weeshuis der hervormden Schiedam (2012).

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