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In-situ spectroscopic analysis of modern reverse paintings on glass (1905-1955)

  • The technique of painting on the reverse side of a glass panel was rediscovered by German artists at the beginning of the 20th century. In contrast to other paint techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession starting with the foremost paint layer and ending with the primer (backmost layer). The paintings are viewed in reflected light, thus revealing an impressive gloss, luminosity and depth of colour. The artist group “Der Blaue Reiter” (the Blue Rider) around W. Kandinsky and F. Marc got in touch with this technique in the summers of 1908 and 1909 and spread their knowledge in different regions. Our pioneering project is tracing this transfer of knowledge by a multidisciplinary approach in terms of art history, painting technology and material science. More than 100 artists and >1000 reverse paintings on glass (1905-1955) were identified during the project. This numbers clearly point out that this technique was by far more importantThe technique of painting on the reverse side of a glass panel was rediscovered by German artists at the beginning of the 20th century. In contrast to other paint techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession starting with the foremost paint layer and ending with the primer (backmost layer). The paintings are viewed in reflected light, thus revealing an impressive gloss, luminosity and depth of colour. The artist group “Der Blaue Reiter” (the Blue Rider) around W. Kandinsky and F. Marc got in touch with this technique in the summers of 1908 and 1909 and spread their knowledge in different regions. Our pioneering project is tracing this transfer of knowledge by a multidisciplinary approach in terms of art history, painting technology and material science. More than 100 artists and >1000 reverse paintings on glass (1905-1955) were identified during the project. This numbers clearly point out that this technique was by far more important for modern art than previously assumed. In-situ, non-invasive measurements (XRF, Raman, VIS, DRIFTS) on a well-considered selection of 67 paintings reveal the broad palette of colorants ranging from traditional to experimental materials. Special attention is paid on artists who are strongly connected to Berlin. Demonstrative examples by W. Dexel, G. Muche and L. Hildebrandt are used to discuss analytical challenges and highlights.zeige mehrzeige weniger

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Metadaten
Autor*innen:Simon StegerORCiD
Koautor*innen:Heike Stege, Oliver Hahn
Dokumenttyp:Vortrag
Veröffentlichungsform:Präsentation
Sprache:Englisch
Jahr der Erstveröffentlichung:2018
Organisationseinheit der BAM:4 Material und Umwelt
4 Material und Umwelt / 4.5 Kunst- und Kulturgutanalyse
DDC-Klassifikation:Naturwissenschaften und Mathematik / Chemie / Analytische Chemie
Freie Schlagwörter:DRIFTS; Raman spectroscopy; Reverse glass painting
Themenfelder/Aktivitätsfelder der BAM:Chemie und Prozesstechnik
Veranstaltung:Young Researchers in Archaeometry (YRA) 2nd Workshop
Veranstaltungsort:Berlin, Germany
Beginndatum der Veranstaltung:23.09.2018
Enddatum der Veranstaltung:25.09.2018
Verfügbarkeit des Dokuments:Datei im Netzwerk der BAM verfügbar ("Closed Access")
Datum der Freischaltung:27.09.2018
Referierte Publikation:Nein
Eingeladener Vortrag:Nein
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