Dokument-ID Dokumenttyp Autoren/innen Persönliche Herausgeber/innen Haupttitel Abstract Auflage Verlagsort Verlag Herausgeber (Institution) Erscheinungsjahr Titel des übergeordneten Werkes Jahrgang/Band ISBN Veranstaltung Veranstaltungsort Beginndatum der Veranstaltung Enddatum der Veranstaltung Ausgabe/Heft Erste Seite Letzte Seite URN DOI Lizenz Datum der Freischaltung OPUS4-55970 Zeitschriftenartikel Bodechtel, S.; Fuhrmann, A.; Henning, A.; Hahn, Oliver; Rabin, Ira; Kreische, W.; Mäder, M. The Madonna with the Wash-Basin by Giulio Romano: A Multidisciplinary Study of the Painting's History In an interdisciplinary collaboration, restorers, art historians, and scientists examined Guilio Romano's The Madonna with the Wash-Basin of 1525 (Dresden State Art Collections). Insights into the painting technique along with art historical comparisons provided the opportunity for a better understanding of the painting's genesis, in particular concerning an early reworking of the background by the artist. A recovery and reconstruction of the earlier version of the background is now possible. The discovery of zinc in distinct passages of the painting, as well as the grey-black pigment stibnite and glass particles used as a supplement in paint layers are of special interest. The technological investigation initiated a discussion about the circumstances of the revision, as well as the painting's relation to Vasari's Lives of Artists. London, UK Routledge Taylor & Francis Group Staatliche Kunstsammlungen Dresden, Dresden, Germany 2022 Studies in conservation 2022 2 12 10.1080/00393630.2022.2118302 2022-10-13 OPUS4-54428 Zeitschriftenartikel Steger, Simon; Stege, H.; Bretz, S.; Hahn, Oliver Tomasin, P. Disclosing glittering and sparkling effects in 20th-century reverse glass paintings: a study of metallic pigments and metal foils by means of in situ XRF and DRIFTS analysis This work presents a spectroscopic study of metallic pigments and metal foils used in reverse glass paintings that were created between 1912 and 1954. Metallic pigments induce a notable sparkling effect by means of the lateral incidence of light, whereas metal foils enhance the gloss and create a glittering effect when the painting is viewed in reflected light. Both effects were desired features especially in modern reverse paintings on glass and applied by artists in manifold creative manner. The paper gives an overview on the composition of the metalfoils and metal pigments in 14 works as determined in situ by X-ray spectrometry. Metal foils made of tin, brass, aluminium and silver were found in nine paintings. Gold imitating Cu-Zn pigments in different hues and with various Cu/Zn net intensity ratios were recorded for six paintings. Silvery pigments were identified mainly as Al pigments, but also as Cu-Zn-Ni alloy in one case. Other uncommon metallic pigments were detected in Arlequin vindicatif (c. 1925) by Floris Jespers, who used not only Cu-Zn and Al pigments, but also brownish Cu and Cu-Zn-Sn pigments. Non-invasive diffuse reflectance infrared Fourier-transform spectroscopy (DRIFTS) was used to classify the binding media of the metallic pigments. Drying oil and natural resin probably mixed with oil were the most common binding media. A polysaccharide-based binder was found in the silvery Cu-Zn-Ni pigment of Ohne Titel (1954) by Marianne Uhlenhuth. Amsterdam Elsevier Masson SAS 2020 Journal of Cultural Heritage 48 196 204 10.1016/j.culher.2020.11.008 2022-03-09 OPUS4-54342 Zeitschriftenartikel Ketelsen, T.; Wintermann, Carsten; Melzer, C.; Dietz, Georg; Golle, U.; Hahn, Oliver Cole, M.; Dogramaci, B.; Lehmann, A.-S.; Sölch, B.; Wedekind, G. Connoisseurship and the Investigation of Materiality: Four "Rembrandt" Drawings in Weimar The aim of this paper is to present the productive interplay of connoisseurship and material analysis when dealing with drawings by Rembrandt - or previously attributed to him - in the collection of the Klassik Stiftung Weimar. This concerns the more precise determination of the drawing materials used and the reconstruction of the genesis of the drawings discussed. The material analysis allows us to decide whether and how Rembrandt's inks can be used to determine authorship at all. The "material turn" in drawing studies thus intervenes in the discussion about authorship and opens up a broader production aesthetic perspective. No longer the "style" but rather the handeling becomes the decisive criterion for answering the question "Rembrandt, or not?" Berlin/München Deutscher Kunstverlag Zentralinstitut für Kunstgeschichte 2021 Zeitschrift für Kunstgeschichte 84 4 483 518 2022-02-16 OPUS4-53160 Zeitschriftenartikel Maltomini, F.; Ghigo, T.; Hahn, Oliver; Rabin, Ira Fournet, J.-L.; Kramer, B.; Luppe, W.; Maehler, H.; McGing, B.; Poethke, G.; Reiter, F.; Richter, S. Florentine papyri under examination: The material study of the inks used at the beginning of the Common Era in the "Family of Kôm Kâssûm" Archive (Hermopolis) Carbon inks with metallic admixtures are found on some papyri of the 2nd century CE from a family archive in Hermopolis. The great diversity of inks found in a single household within a short period of time suggests that inks were purchased rather than self-made. Berlin De Gruyter Staatliche Museen zu Berlin 2021 Archiv für Papyrusforschung und verwandte Gebiete 67 1 146 165 10.1515/apf-2021-0010 2021-08-31 OPUS4-44023 Zeitschriftenartikel Steger, Simon; Stege, H.; Bretz, S.; Hahn, Oliver Capabilities and limitations of handheld Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for the analysis of colourants and binders in 20th-century reverse paintings on glass A non-invasivemethod has been carried out to show the capabilities and limitations of Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for identifying of colourants and binders in modern reverse glass paintings. For this purpose, the reverse glass paintings "Zwei Frauen am Tisch" (1920-22), "Bäume" (1946) (both by Heinrich Campendonk), "Lofoten" (1933) (Edith Campendonk-van Leckwyck) and "Ohne Titel" (1954) (Marianne Uhlenhuth), were measured. In contrast to other techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession. In multi-layered paint systems, the front paint layer may no longer be accessible. The work points out the different spectral appearance of a given substance (gypsum, basic lead white) in reverse glass paintings. However, inverted bands, band overlapping and derivative-shaped spectral features can be interpreted by comparing the spectra fromthe paintingswith spectra frompure powders and pigment/linseed oil mock-ups. Moreover, the work focuses on this method's capabilities in identifying synthetic organic pigments (SOP). Reference spectra of three common SOP (PG7, PY1, PR83) were obtained from powders and historical colour charts.We identified PR83 and PY1 in two reverse glass paintings, using the measured reference spectra. The recorded DRIFTS spectra of pure linseed oil, gum Arabic, mastic, polyvinyl acetate resin and bees wax can be used to classify the binding media of the measured paintings. Elsevier B.V. 2018 Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 195 103 112 10.1016/j.saa.2018.01.057 2018-02-05 OPUS4-45741 Zeitschriftenartikel Bosch, S.; Colini, C.; Hahn, Oliver; Janke, A.; Shevchuk, I. Friedrich, M.; Quenzer, J.; Wandrey, I. The Atri fragment revisited I: Multispectral imaging and ink identification This paper reports the outcome of an interdisciplinary team's application of multispectral imaging techniques and material analysis to a music fragment from the first decades of the fifteenth century: Atri, Archivio Capitolare, Museo della Basilica Cattedrale, Biblioteca del Capitolo della Cattedrale, Frammento 17. This important parchment leaf has rarely been investigated since its discovery 45 years ago. Thanks to the applied techniques and methods (such as the evaluation of the data using the fingerprint model), it is now possible to discuss new evidence supporting conclusions regarding the fragment's origin and afterlife. Hamburg Universität Hamburg SFB 950 2018 manuscript cultures 2018 11 141 156 2018-08-21 OPUS4-48100 Zeitschriftenartikel Brozowski, E.; Colini, C.; Hahn, Oliver; Rabin, Ira Ayo, Charles K. Scientific investigations on paper and writing materials of Mali: A pilot study The investigation of physical properties and chemical composition generates data important for answering cultural-historical questions that cannot be solved by historical and philological methods alone. Due to technological developments, technical diagnostics in art and culture are in ever-greater demand in such fields of transdisciplinary research. Natural sciences play auxiliary role in the studies of manuscripts. The success of their contribution depends strongly on the formulation of the question, the choice of the methods to obtain the requested answer, and appropriate reference databases. First, report was given on the measurements performed on local raw materials, such as, plants, minerals and animals, which constitute the reference session. Then, the first results of the scientific analysis of several fragments from the Malian manuscript collections were present. Nairobi, Kenya Academic Journals 2019 Journal of african studies and development 11 3 28 50 10.5897/JASD2017.0453 2019-05-29 OPUS4-48007 Zeitschriftenartikel Steger, Simon; Oesterle, D.; Bretz, S.; Frenzel, L.; Stege, H.; Winkelmeyer, I.; Hahn, Oliver; Geiger, G. Kandinsky's fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911-1914) by Wassily Kandinsky This work highlights the rediscovery of the technique of reverse glass painting by the artists of the "Blaue Reiter" collective in the early 20th-century and focusses particularly on the role of Wassily Kandinsky (1866-1944). Kandinsky created more than 70 reverse paintings on glass and showed several of them in exhibitions together with paintings on canvas and cardboard, implying a coequal importance of these techniques. Four of his early (1911-1914) reverse glass paintings (Auferstehung, Allerheiligen II, Rudern, Apokalyptischer Reiter II) were selected for investigation and their iconography, painting techniques and painting materials were examined. Two paintings were executed on so-called cathedral glass, revealing a "hammered surface", whereas Kandinsky used a corrugated glass panel for Rudern. A multi-analytical, non-invasive approach [X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), VIS spectroscopy (VIS), Raman spectroscopy] was taken to identify the pigments and classify the binding media. The results reveal a broad palette of materials. Several pigments like lead white, zinc white, Strontium yellow, Prussian blue, viridian, cadmium yellow, ultramarine blue, cinnabar and carbon black were found in most of the four paintings. The use of the rare synthetic organic pigments PR60 and PB52 is discussed. In two works of art, cadmium carbonate is associated with cadmium yellow. The identification of aluminium foil along with tin foils in Rudern indicates an early use of this material for reverse glass paintings. Springer 2019 Heritage Science 7 27 1 17 urn:nbn:de:kobv:b43-480075 10.1186/s40494-019-0268-8 https://creativecommons.org/licenses/by/4.0/deed.de 2019-05-20 OPUS4-48008 Zeitschriftenartikel Steger, Simon; Stege, H.; Bretz, S.; Hahn, Oliver A complementary spectroscopic approach for the non-invasive in-situ identification of synthetic organic pigments in modern reverse paintings on glass (1913-1946) This work addresses the identification of synthetic organic pigments (SOP) in eight modern reverse paintings on glass (1913-1946) by means of an in-situ multi-analytical approach. We combined the complementary properties of mobile Raman spectroscopy and diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) to overcome the main disadvantages of each method: extensive band overlapping in DRIFT spectra and fluorescence problems in Raman spectra. A collection of DRIFTS reference spectra enables a precise pigment identification by DRIFTS and establishes this method as a serious non-destructive alternative for the identification of SOP. The group of β-naphthol pigments yielded valuable results for both methods, whereas synthetic alizarin (PR83) was preferentially detected by DRIFTS. Finally, uncommon triaryl carbonium pigments and two azo group-based yellows were identified in the paintings by means of Raman spectroscopy. Elsevier Masson SAS. 2019 Journal of Cultural Heritage 38 20 28 10.1016/j.culher.2019.01.011 2019-05-20 OPUS4-51489 Zeitschriftenartikel Horn, Wolfgang; Hahn, Oliver Neues BAM-Zertifizierungsverfahren für emissionsarme Materialien zum Bau von Museumsvitrinen Museumsvitrinen sollen Kunst- und Kulturgut „ins rechte Licht" setzen und vor Diebstahl oder Vandalismus schützen. Vergleicht man historische Schauvitrinen, die zumeist aus einfachen Glasscheiben in Holzrahmungen bestehen, mit heutigen Konstruktionen, lässt sich eine Entwicklung zu hochtechnisierten Gebilden ablesen, die deutlich mehr Ansprüchen genügen müssen als in der Vergangenheit. Zahlreiche Beispiele verdeutlichen, dass Kunstwerke nicht nur außerhalb, sondern auch innerhalb von Museen oder Archiven ungünstigen Umwelteinflüssen ausgesetzt sind. So können Einbauten bzw. Dekorationen in Ausstellungsräumen, Aufbewahrungsbehältnisse in Depoträumen oder Ausstellungsvitrinen flüchtige Substanzen, sogenannte VOCs (Volatile Organic Compounds) freisetzen, die zu irreversiblen Veränderungen an den Objekten führen und diese schädigen. Hierzu zählen organische Säuren, wie Ameisen- oder Essigsäure, aber auch Verbindungen, die Sulfide enthalten. Hier wird die an der BAM entwickelte BEMMA-Bewertungsmethode vorgestellt, die von Museen verwendet werden kann Materialien mit einem geringeren Emissionspotential auszusuchen. Leipzig SchmittART 2020 KulturBetrieb 2020 zwei 80 81 2020-11-02