TY - GEN A1 - Gruskovà, J. A1 - Martin, G. A1 - Kresten, O. A1 - Mitthoff, F. A1 - Kaska, K. A1 - Hofmann, C. A1 - Kreuzer, W. A1 - Phelps, M. A1 - Boydston, K. A1 - Easton Jr., R. L. A1 - Knox, K. T. A1 - Kelbe, D. A1 - Kasotakis, D. A1 - Christens-Barry, W. A. A1 - Stewart, D. A1 - Rabin, Ira A1 - Hahn, Oliver A1 - Glaser, L. A1 - Garrevoet, J. A1 - Shevchuk, I. A1 - Klumpp, S. A1 - Deckers, D. A1 - Buck, J. ED - Cronier, M. ED - Mondrain, B. T1 - Insights-into-the-Digital-Recovery-of-the-Scythica-Vindobonesia N2 - The Scythica Vindobonensia, the new fragments on Gothic incursions into Roman provinces in the Balkans in the middle of the third century AD that were revealed some years ago in a Greek palimpsest at the Austrian National Library in Vienna (ÖNB), are commonly considered as one of the most important additions of the last decades to the corpus of texts from classical Antiquity. Tere is a high degree of confdence among scholars in supposing that the fragments come from the lost work Scythica written in Greek by the third-century historian P. Herennius Dexippus (Δέξιππος) of Athens. The new fragments have hence also been called Dexippus Vindobonensis. In his Scythica, Dexippus recorded wars of the Romans with the Goths (and other tribes) whom he called Scythians. The work had been hitherto known only from excerpts and quotes by later authors. Eight pages of a Byzantine manuscript copy of the ancient text have survived hidden underneath the visible surface of the last four parchment folios of the Vienna manuscript Historicus graecus 73, f. 192r -195v4. The copy is written in a Greek calligraphic minuscule which has been estimated by palaeographers to be of the middle or the second half of the eleventh century. In the thirteenth century, the text (on each of the eight pages arranged in one column, with 30 lines per page) was washed of the parchment and the valuable material made from animal skin was re-used for Christian texts. The new writing largely covered the faded remnants of the original text. It thus became hidden from the human eye for more than seven hundred years. Its discovery by Jana Grusková, a classical philologist specialized in the transmission of Greek texts, resulted from a systematic review of all Greek palimpsests kept at the Austrian National Library in Vienna at the beginning of the twenty-first century and a detailed examination of the four folios in 2007-20097. KW - Scythica Vindobonensia, KW - Gothic incursions KW - A Greek palimpsest KW - Antiquity KW - Byzantine manuscript KW - Vienna manuscript PY - 2020 SN - 978-2-916716-81-7 SN - 0577-1471 VL - 2020 IS - 24/1 SP - 945 EP - 967 PB - Association des Amis du Centre d’Histoire et Civilisation de Byzance CY - Paris ET - 1 AN - OPUS4-53843 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - BOOK A1 - Dietz, G. A1 - Eggert, Claudia A1 - Golle, U. A1 - Hahn, Oliver A1 - Ketelsen, T. A1 - Ludwig, A. A1 - Melzer, C. A1 - Rabin, Ira A1 - Wintermann, C. ED - Hahn, Oliver ED - Doil, Thorsten ED - Wintermann, C. T1 - Die Materialität der Zeichnung - Eine naturwissenschaftliche Annäherung N2 - Der Band 5 der N.i.Ke.-Schriftenreihe präsentiert den aktuellen Stand materialwissenschaftlicher und bildgebender Verfahren, die bei der Untersuchung von Zeichnungen Anwendung finden. Im ersten Teil der Publikation werden die klassischen Zeichnungsträger und Zeichnungsmaterialien vorgestellt. Der mittlere Teil der Publikation beschreibt die relevanten materialwissenschaftlichen und bildgebenden Verfahren. Der letzte Teil diskutiert anhand einiger Fallbeispiele die Möglichkeiten und Grenzen der Methoden. KW - Archäometrie KW - Zeichnungen KW - Zerstörungsfreie Prüfung KW - Papier KW - Pergament KW - Zeichenmaterialien PY - 2024 SN - 2567-1251 N1 - Es gibt eine parallele Sprachausgabe (englisch), ein Link befindet sich im Feld zugehöriger Identifikator - There is a parallel language edition (English), a link is in the field related identifier VL - 5 SP - VII EP - 111 PB - Bundesanstalt für Materialforschung und -prüfung (BAM) CY - Berlin AN - OPUS4-60751 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - BOOK A1 - Dietz, G. A1 - Eggert, Claudia A1 - Golle, U. A1 - Hahn, Oliver A1 - Ketelsen, T. A1 - Ludwig, A. A1 - Melzer, C. A1 - Rabin, Ira A1 - Wintermann, C. ED - Hahn, Oliver ED - Doil, Thorsten ED - Wintermann, C. T1 - The materiality of drawings - A scientific approach N2 - Volume 5 of the N.i.Ke. series presents the current state of materials science and imaging techniques used in the examination of drawings. The first part of the publication introduces the classic drawing substrates and materials. The middle part of the publication describes the relevant materials science and imaging techniques. The final part discusses the possibilities and limitations of these methods using several case studies. KW - Archaeometry KW - Paper KW - Parchment KW - Drawing materials KW - Drawings KW - Nondestructive testing PY - 2024 SN - 2567-1251 N1 - Es gibt eine parallele Sprachausgabe (deutsch), ein Link befindet sich im Feld zugehöriger Identifikator - There is a parallel language edition (German), a link is in the field related identifier VL - 5 SP - VII EP - 110 PB - Bundesanstalt für Materialforschung und -prüfung (BAM) CY - Berlin AN - OPUS4-63672 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Dietz, G. A1 - Ketelsen, T. A1 - Hoss, M. A1 - Simon, O. A1 - Wintermann, C. A1 - Wolff, Timo A1 - Rabin, Ira A1 - Hahn, Oliver T1 - The Egmont master phenomenon: X-ray fluorescence spectrometric and paper studies for art history research N2 - The aim of the research project 'Typology of Dutch Drawing' was to establish an interdisciplinary approach for investigating heterogeneous drawing collections. To define a type common to a group of drawings, we determine elements that are common to them based on style and the use of identical materials. To that end, we investigated about 750 Dutch drawings from the sixteenth century at the Dresden Kupferstich-Kabinett using art historical and scientific methods. In this work, we present a detailed analysis of 30 drawings ascribed to the Egmont Master. KW - Archeometry KW - Fine arts KW - Nondestructive testing KW - Paper analysis KW - X-ray fluorescence spectrometry (XRF) KW - Reference materials PY - 2012 DO - https://doi.org/10.1007/s00216-011-5309-4 SN - 1618-2642 SN - 1618-2650 VL - 402 IS - 4 SP - 1505 EP - 1515 PB - Springer CY - Berlin AN - OPUS4-25510 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 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-480075 DO - https://doi.org/10.1186/s40494-019-0268-8 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 - Oesterle, D. A1 - Mayer, R. A1 - Hahn, Oliver A1 - Bretz, S. A1 - Geiger, G. T1 - First insights into Chinese reverse glass paintings gained by non-invasive spectroscopic analysis-tracing a cultural dialogue N2 - This work presents a technical investigation of two Chinese reverse glass paintings from the late 19th and early 20th centuries. A multi-analytical, non-invasive approach (X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), Raman spectroscopy) was used to identify the pigments and classify the binding media. The results reveal a combined use of traditional Chinese and imported European materials. Several pigments like cinnabar, lead white, orpiment, carbon black and copper-arsenic green (probably emerald green) were found in both paintings; red lead, artificial ultramarine blue, Prussian blue and ochre appear in at least one of the paintings. The proof of limewash (calcite and small amounts of portlandite) as a backing layer in Yingying and Hongniang indicates that clamshell white was also used for reverse glass paintings. Drying oil was classified as a binding media in most areas of both paintings. However, the orange background of The Archer yielded prominent bands of both proteinaceous and fatty binder. KW - Non-invasive analysis KW - Reverse glass painting KW - Pigment identification KW - DRIFTS KW - Raman spectroscopy PY - 2019 DO - https://doi.org/10.1007/s12520-019-00799-3 SN - 1866-9557 SN - 1866-9565 VL - 11 IS - 8 SP - 4025 EP - 4034 PB - Springer AN - OPUS4-47364 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - GEN A1 - Kolbe, M. A1 - Beckhoff, B. A1 - Hahn, Oliver A1 - Karydas, A.G. A1 - Zarkadas, C. A1 - Sokaras, D. A1 - Mantler, M. T1 - Reference-free investigation of an ancient Chinese ceramic by X-ray fluorescence analysis KW - X-ray fluorescence analysis KW - Reference-free investigation PY - 2007 UR - http://www.helmholtz-berlin.de/media/media/oea/web/pr_webseite/druckschriften/berichte/bessy/annual_report_2006.pdf#page=32 SN - 0179-4159 SP - 32 EP - 34 PB - Berliner Elektronenspeicherring-Gesellschaft für Synchrotronstrahlung CY - Berlin AN - OPUS4-14853 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - GEN A1 - Brahms, I. A1 - Dietz, Georg A1 - Dietz, G.J. A1 - Edmondson, K. A1 - Eser, T. A1 - Hahn, Oliver A1 - Kosek, J. A1 - Singer, H. ED - Buck, S. ED - Porras, S. T1 - Art and Science: Analysing Dürer's early pen-and-ink drawings N2 - In a footnote to his first scholarly publication of 1915, Erwin Panofsky wrote that the use of “identical” ink positively “conipelled” him to believe that some scattered drawings by Dürer were definitely executed at the same time,around 1508.1 The question is, how far was Panofsky able to recognise the identity and similarity of the inks concerned,since such Classification by the human eye is discretionary by its very natu re? This essay presents new technical research undertaken collaboratively on Dürer’s early drawings in a number of leading collections of the artist’s work. The project aimed to contribute to particular questions, such as that presented by Panofsky above, but also to enrich our understanding of the young Dürer’s approach to the medium of drawing in general. KW - Albrecht Dürer KW - Drawings KW - Iron gall ink KW - X-ray fluorescence PY - 2013 SN - 978-1-907372-53-7 SN - 978-1-907372-51-3 SP - 89 EP - 105 PB - Paul Holberton publishing CY - London, UK AN - OPUS4-29658 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Beckhoff, B. A1 - Kolbe, M. A1 - Hahn, Oliver A1 - Karydas, A.G. A1 - Zarkadas, C. A1 - Sokaras, D. A1 - Mantler, M. T1 - Reference-free X-ray fluorescence analysis of an ancient Chinese ceramic N2 - The investigation of an ancient Chinese ceramic served to further develop and validate fundamental parameter-based quantitation procedures in reference-free x-ray fluorescence (XRF) analysis. The XRF measurements of this sample were performed at the four-crystal monochromator beamline of the Physikalisch-Technische Bundesanstalt (PTB) at the BESSY II synchrotron radiation facility employing different excitation energies. The parallel processing of the XRF spectra recorded at different excitation energies provides a means to simultaneously evaluate relevant fundamental parameters and secondary enhancement processes such as those induced by photoelectrons. Employing well-characterized and absolutely calibrated instrumentation, all experimental parameters involved in XRF are known for small relative uncertainties allowing for a completely reference-free quantitation. Apart from traces of rare earth elements, the analytical results of the Chinese ceramic achieved by reference-free XRF are in line with target values given within a proficiency test of the International Atomic Energy Agency (IAEA) involving atomic and nuclear methods. KW - XRF KW - Cultural heritage KW - Archaeometry PY - 2008 DO - https://doi.org/10.1002/xrs.1073 SN - 0049-8246 VL - 37 SP - 462 EP - 465 PB - Wiley CY - Chichester AN - OPUS4-19095 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -