TY - JOUR A1 - Denker, A. A1 - Hahn, Oliver A1 - Kanngießer, B. A1 - Malzer, W. A1 - Merchel, Silke A1 - Radtke, Martin A1 - Röhrs, S. A1 - Reiche, I. A1 - Stege, H. T1 - Chemie der Kunst - Zerstörungsfreie Analyse von Kunst- und Kulturgütern N2 - Naturwissenschaftliche Informationen, insbesondere die chemische Zusammensetzung der Objekte, können Hinweise auf die Hintergründe der Objektherstellung liefern, die der alleinigen kunsthistorischen Begutachtung verborgen blieben. Es können nicht nur Fragen nach dem Prozess, Zeitpunkt und Ort der Herstellung beantwortet werden. Die chemische Analyse gibt auch Hinweise auf Ereignisse und Veränderungen, die erst nach der Fertigstellung des Objektes erfolgten. So werden Alterungsphänomene oder historische Überarbeitungen und Restaurierungen aufgedeckt, aber auch Konservierungsstrategien zur Erhaltung der Kunstwerke unterstützt. Durch den technologischen Fortschritt im Bereich der röntgenanalytischen Methoden, die berührungsfrei, ohne Probennahme und ohne Schädigung für das Untersuchungsobjekt arbeiten, erschließen sich dem Analytiker erstmalig Möglichkeiten, auch sehr wertvolle und fragile Objekte zerstörungsfrei zu untersuchen. PY - 2003 U6 - https://doi.org/10.1515/mt-2003-0003 SN - 0025-5300 VL - 45 IS - 11-12 SP - 485 EP - 503 PB - Carl Hanser Verlag CY - München AN - OPUS4-2745 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - GEN A1 - Hahn, Oliver A1 - Reiche, I. A1 - Stege, H. ED - Beckhoff, B. T1 - Application in arts and archaeology KW - X-Ray Fluorescence KW - Archaeometry KW - Archaeology PY - 2006 SN - 3-540-28603-9 IS - Abschnitt 7.7 SP - 687 EP - 700 PB - Springer CY - Berlin AN - OPUS4-12631 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Schulte, Franziska A1 - Brzezinka, K.-W. A1 - Lutzenberger, K. A1 - Stege, H. A1 - Panne, Ulrich T1 - Raman spectroscopy of synthetic organic pigments used in 20th century works of art N2 - Raman microscopy allows a non-destructive characterisation of inorganic and organic painting materials such as pigments and organic dyestuffs. The objectives of this study are the more recent organic pigments typically present in paintings and other art works from the 20th century. More than 20 organic synthetic pigments from different chemical classes could be identified by Raman spectroscopy using different excitation wavelengths (457.9, 476.5, 487.9, 514.5, 632.8, and 1064 nm). To evaluate the performance for real paint samples, varying paint mixtures of the Hansa Yellow pigment PY 3 and the binding medium Mowilith, a polyvinyl acetate (PVAC) compound, were characterised; PY 3 was determined at a 1 wt% level in the binder. In addition, commercial tube paints containing the quinacridone violet PV 19 were studied. The pigment was clearly identified in all of these more complex oil and acrylic paints. Finally, alizarin (PR 83) and a green copper phthalocyanine pigment (PG 7) could unambiguously be identified by Raman microscopy in the painting Woman with mandolin in yellow and red of Max Beckmann dating 1950. The discovery of a red naphthol AS pigment by Raman spectroscopy in a sample from the Three field workers by Georg Baselitz (1964/1965) demonstrated that in some cases complementary chromatographic methods are needed for a comprehensive identification of the organic pigments. KW - Raman microscopy KW - FT-Raman spectroscopy KW - Synthetic organic pigments KW - Modern art PY - 2008 U6 - https://doi.org/10.1002/jrs.2021 SN - 0377-0486 SN - 1097-4555 VL - 39 IS - 10 SP - 1455 EP - 1463 PB - Wiley CY - Chichester AN - OPUS4-18401 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Denker, A. A1 - Hahn, Oliver A1 - Merchel, Silke A1 - Radtke, Martin A1 - Kanngießer, B. A1 - Malzer, W. A1 - Röhrs, S. A1 - Reiche, I. A1 - Stege, H. T1 - Röntgenanalytik für Kunstwerke und Kulturgüter N2 - Naturwissenschaftler arbeiten mit Archäologen, Kunsthistorikern und Restauratoren zusammen, um Materialinformationen über Kunstwerke mit den Erkenntnissen aus Altertumsforschung, Kunstgeschichte und Denkmalpflege zu verbinden. Röntgenfluoreszenz und Röntgenemission sind die Methoden der Wahl, wenn wertvolle und fragile Objekte zerstörungsfrei zu untersuchen sind. KW - Synchrotron KW - XRF analysis KW - Drawings KW - Paintings KW - Ink KW - Art objects KW - Archaeometry KW - Röntgenfluoreszenzanalyse (RFA) KW - Zeichnungen KW - Gemälde KW - Tinten KW - Kunstobjekte KW - Archäometrie PY - 2005 SN - 1439-9598 SN - 1521-3854 VL - 53 IS - 2 SP - 118 EP - 123 PB - Wiley-VCH Verl. CY - Weinheim AN - OPUS4-6898 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Stege, H. A1 - Hahn, Oliver A1 - Müller, J. T1 - Die mobile Mikro-Röntgenfluoreszenzanalyse KW - Zerstörungsfreie Prüfung KW - Jahr der Chemie KW - Archäometrie KW - Röntgenfluoreszenzanalyse PY - 2004 SN - 0933-4017 VL - 110 IS - 6 SP - 385 EP - 389 PB - Callwey CY - München AN - OPUS4-4115 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - BOOK A1 - Hahn, Oliver A1 - Oesterle, D. A1 - Bretz, S. A1 - Steger, Simon A1 - Stege, H. A1 - Dietemann, P. A1 - Baumer, U. ED - Hahn, Oliver ED - Oesterle, D. ED - Bretz, S. ED - Doil, Thorsten T1 - Hinter Glas gemalt - Geheimnisse einer Technik - Eine Ausstellung im Museum Penzberg – Sammlung Campendonk im Rahmen des Forschungsprojektes "Hinterglasmalerei als Technik der Klassischen Moderne 1905-1955" N2 - Mit der Bezeichnung Hinterglasmalerei wird allgemein der Begriff der Glasmalerei assoziiert. Auch wenn in beiden Fällen Glas das Trägermaterial ist, bezeichnet Hinterglasmalerei jedoch eine völlig andere Technik. Während bei der Glasmalerei die Farben auf den Bildträger eingebrannt werden, handelt es sich bei der Hinterglasmalerei um eine Kaltmalerei. Selbsttrocknende Farben werden auf die Rückseite der Glastafel aufgetragen, zuweilen wird die Malweise durch aufwendige Veredelungstechniken ergänzt. Mehr und mehr rückt diese Technik, die materialtechnologisch zwischen Tafelmalerei und Glasmalerei zu verorten ist, in den Blickwinkel einer interessierten Öffentlichkeit, wie dies eine zunehmende Anzahl verschiedener Ausstellungen zur Hinterglasmalerei belegen. Die vorliegende Publikation beschäftigt sich in erster Linie mit kunsttechnologischen und materialanalytischen Aspekten der Hinterglasmalerei und ermöglicht tiefe Einblicke in die künstlerische Arbeitsweise und in die Verwendung unterschiedlichster Materialien. T2 - Ausstellung Hinterglasmalerei CY - Penzberg, Germany DA - 19.12.2020 KW - Archäometrie KW - Hinterglasmalerei KW - Kunsttechnologie KW - Zerstörungsfreie Prüfung PY - 2021 SN - 2567-1251 VL - 2 SP - VII EP - 103 PB - Druckerei G. Bohm CY - Berlin AN - OPUS4-55155 LA - deu 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 U6 - 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 - JOUR A1 - Steger, Simon A1 - Stege, H. A1 - Bretz, S. A1 - Hahn, Oliver T1 - 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 N2 - 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. KW - DRIFTS KW - Painting KW - Non-invasive KW - Pigment PY - 2018 U6 - https://doi.org/10.1016/j.saa.2018.01.057 SN - 1873-3557 VL - 195 SP - 103 EP - 112 PB - Elsevier B.V. AN - OPUS4-44023 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Steger, Simon A1 - Oesterle, D. A1 - Bretz, S. A1 - Frenzel, L. A1 - Stege, H. A1 - Winkelmeyer, I. A1 - Hahn, Oliver A1 - Geiger, G. T1 - Kandinsky’s fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky N2 - 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. KW - Reverse glass painting KW - Non-invasive analysis KW - Raman spectroscopy KW - DRIFTS PY - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:b43-480075 VL - 7 IS - 27 SP - 1 EP - 17 PB - Springer AN - OPUS4-48007 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 T1 - A complementary spectroscopic approach for the non-invasive in-situ identification of synthetic organic pigments in modern reverse paintings on glass (1913–1946) N2 - 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. KW - Synthetic organic pigments KW - DRIFTS KW - Raman spectroscopy KW - Reverse glass painting PY - 2019 U6 - https://doi.org/10.1016/j.culher.2019.01.011 SN - 1296-2074 SN - 1778-3674 VL - 38 SP - 20 EP - 28 PB - Elsevier Masson SAS. AN - OPUS4-48008 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -