TY - JOUR A1 - Hahn, Oliver A1 - Bretz, Simone A1 - Hagnau, Carola A1 - Ranz, Hans-Jörg A1 - Wolff, Timo T1 - Pigments, dyes, and black enamel - the colorants of reverse paintings on glass N2 - Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form "reverse painting on glass" has technically to be characterized as a mixture of "stained glass" and "panel painting" that nonetheless develops into a genre of its own. KW - Archaeometry KW - Cultural heritage KW - Non-destructive testing PY - 2009 DO - https://doi.org/10.1007/s12520-009-0021-4 SN - 1866-9557 SN - 1866-9565 VL - 1 IS - 4 SP - 263 EP - 271 PB - Springer CY - Berlin ; Heidelberg AN - OPUS4-20877 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - GEN A1 - Hahn, Oliver ED - Trost, V. ED - Pataki-Hundt, A. ED - Huhsmann, E. T1 - Die Farben und Tinten im Stuttgarter Psalter - Naturwissenschaftliche Untersuchungen N2 - Die Miniaturen des Stuttgarter Psalters bestechen nicht nur durch ihre Originalität, sondern auch durch ihre außerordentliche Farbigkeit. Seit Urzeiten benutzen die Menschen farbige Substanzen, um Bilder entstehen zu lassen. Von den zahlreichen Quellen, die von der Gewinnung und Herstellung von Farben handeln, soll hier nur kurz berichtet werden. Eine ausführliche Darstellung über antike und frühmittelalterliche Rezeptsammlungen findet sich an anderer Stelle in diesem Katalog. Bereits seit der Antike gibt es eine Tradition, Zubereitungs- und Verarbeitungsrezepturen zu sammeln. So berichtet Theophrast im 4. Jahrhundert n. Chr. über mineralische Farbmittel, zahlreiche Informationen lassen sich auch aus dem 25 V. Chr. entstandenen Architekturtraktat des Vitruv und der etwa achtzig Jahre jüngeren Naturgeschichte des Plinius gewinnen. Aus dem 3. Jahrhundert sind dann erstmals auf drei griechischen Papyri echte Rezepturen zur Farbherstellung überliefert. Die außerordentliche Rezeptsammlung der Mappae Clavimla und die Handschrift Lucca, eine Sammlung kunsttechnologischer Rezepte, sind vermutlich ebenso griechischen Ursprungs. Das wachsende Interesse an diesen Rezeptsammlungen dokumentiert sich in zahlreichen Kopien, die im weiteren Verlauf nicht nur in Latein sondern in der entsprechenden Volkssprache verfasst wurden (Fuchs und Oltrogge 1998). KW - Röntgenfluoreszenzanalyse KW - VIS-Spektroskopie KW - Zerstörungsfreie Prüfung PY - 2011 SN - 978-3-88282-072-0 SP - 111 EP - 121 CY - Stuttgart AN - OPUS4-23657 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Wolf, U. A1 - Hahn, Oliver A1 - Wolff, Timo ED - Wollny, P. T1 - Wer schrieb was? Röntgenfluoreszenzanalyse am Autograph von J.S. Bachs Messe in h-Moll BWV 232 KW - Kulturgut KW - Röntgenfluoreszenzanalyse PY - 2009 SN - 0084-7682 VL - 95 SP - 117 EP - 133 PB - Evang. Verl.-Anst. CY - Leipzig AN - OPUS4-20795 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - GEN A1 - Hahn, Oliver A1 - Kanngießer, Birgit A1 - Wilke, M. A1 - Malzer, W. A1 - Nekat, B. A1 - Wolff, Timo A1 - Erko, A. T1 - Influence of Restoration Treatments on Ink Corroded Manuscripts KW - X-ray fluorescence analysis KW - X-ray absorption analysis KW - Cultural heritage KW - Sustainability PY - 2007 UR - http://www.helmholtz-berlin.de/media/media/oea/web/pr_webseite/druckschriften/berichte/bessy/annual_report_2006.pdf#page=205 SN - 0179-4159 SP - 205 EP - 207 PB - Berliner Elektronenspeicherring-Gesellschaft für Synchrotronstrahlung CY - Berlin AN - OPUS4-14854 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Wolff, Timo A1 - Hahn, Oliver A1 - Kanngießer, B. T1 - Investigation of the genesis of historical paper- and parchment-manuscripts by means of portable micro XRF T2 - TECHNART 2007, Non-destructive and microanalytical techniques in art and cultural heritage research CY - Lisbon, Portugal DA - 2007-04-25 PY - 2007 AN - OPUS4-14835 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver T1 - High-Tech Analyses for the investigation of Cultural Assets T2 - BEYOND GALILEOS "O"; Max-Planck Institut for the History of Science CY - Berlin, Germany DA - 2012-03-19 PY - 2012 AN - OPUS4-25905 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Ketelsen, T. A1 - Wintermann, Carsten A1 - Melzer, C. A1 - Dietz, Georg A1 - Golle, U. A1 - Hahn, Oliver ED - Cole, M. ED - Dogramaci, B. ED - Lehmann, A.-S. ED - Sölch, B. ED - Wedekind, G. T1 - Connoisseurship and the Investigation of Materiality: Four “Rembrandt” Drawings in Weimar N2 - 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?” KW - Archaeometry KW - History of Art KW - Drawings KW - Rembrandt PY - 2021 SN - 0044-2992 VL - 84 IS - 4 SP - 483 EP - 518 PB - Deutscher Kunstverlag CY - Berlin/München AN - OPUS4-54342 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Bodechtel, S. A1 - Fuhrmann, A. A1 - Henning, A. A1 - Hahn, Oliver A1 - Rabin, Ira A1 - Kreische, W. A1 - Mäder, M. T1 - The Madonna with the Wash-Basin by Giulio Romano: A Multidisciplinary Study of the Painting’s History N2 - 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. KW - Giulio Romano KW - Holy Family KW - Basin KW - Reworking KW - Pentimenti KW - Portrayal of St Joseph KW - Sixteenth-century painting technique KW - Raphael school KW - Zinc KW - Antimony black (stibnite) KW - Vasari PY - 2022 DO - https://doi.org/10.1080/00393630.2022.2118302 VL - 2022 SP - 2 EP - 12 PB - Routledge Taylor & Francis Group CY - London, UK AN - OPUS4-55970 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Steger, Simon A1 - Stege, H. A1 - Bretz, S. A1 - Hahn, Oliver ED - Tomasin, P. T1 - 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 N2 - 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. KW - Archaeometry KW - Non-invasive analysis KW - Reverse paintings on glass PY - 2020 DO - https://doi.org/10.1016/j.culher.2020.11.008 SN - 1296-2074 VL - 48 SP - 196 EP - 204 PB - Elsevier Masson SAS CY - Amsterdam AN - OPUS4-54428 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - RPRT A1 - Hahn, Oliver A1 - Nehring, G. A1 - Freisitzer, R. A1 - Rabin, Ira T1 - A study on early european inks from St. Paul in lavanttal N2 - Typology of Inks Archives and museums around the world contain a vast number of manuscripts that were written in different inks: carbon inks, plant inks, iron-gall inks and mixed inks. Yet most archaeometric studies of manuscripts focus on the palette of pigments found in illuminated manuscripts whereas identification of the inks is still largely based on cultural-historical studies and visual inspections. One of the reasons of this disproportion in the studies can be explained by the properties of Raman spectroscopy, the technique of choice for identification of pigments. In contrast, this technique is only partially viable when dealing with organic colourants. Brown and Clark discuss these difficulties and the uncertainties of identification of iron-gall inks by Raman spectroscopy in their pioneering work on early medieval Anglo-Saxon manuscripts (K. Brown and R. Clark 2004). To facilitate instrumental analysis of inks, we have developed a protocol that starts with the identification of the inks type (Rabin et al. 2012) which doesn’t require complicated instrumentation and can be carried out by paleographers and codicologists. Three typological ink classes The black writing materials used in manuscript production in Antiquity und Middle Ages can be sorted in three typologically different ink classes: soot, plant and iron-gall. Soot ink is a fine dispersion of carbon pigments in a water soluble binding agent; plant-based ink consists of a solution of the tannins extracted from gallnuts or tree bark; iron-gall ink, is produced by mixing a soluble compound of iron (II) with gallic or tannic acid extracted from gallnuts or tree bark. Therefore, iron-gall ink presents a boundary case between solution and dispersion ink, in which a water-soluble preliminary stage oxidizes and evolves into a black, insoluble precipitate similar to the carbon pigments when the writing is exposed to air (Krekel 1999). The additional category of mixed inks, i.e. inks produced by addition of various metals to the soot inks or intentional mixing of iron-gall and soot - based inks started attracting scholarly attention only recently because their significance was established only a short while ago (Brun et al. 2016, Colini 2018, Nehring et al. 2021). We suggest that plant and mixed inks build a bridge from the carbon ink of Antiquity to the properly formulated iron-gall ink that became a standard black ink from the late Middle Ages to the 19th century when it gave way to modern inks. KW - Early european inks KW - Typology of Inks KW - Raman spectroscopy KW - Illuminated manuscripts KW - Archaeometric studies KW - Dispersion of carbon pigments PY - 2021 VL - 2021 SP - 56 EP - 75 PB - Gazette du livre médiéval CY - Paris AN - OPUS4-53844 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -