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In this paper, we discuss the importance of scientifically investigating cultural artefacts in a non-invasive way. Taking as test case Leonardo da Vinci’s Manuscript with anatomic drawings and notes, which is stored in Weimar, we clarify fundamental steps in the chronology of this folio. By means of microscopy, infrared reflectography, UV photography, and X-ray fluorescence analysis, we were able to identify various types of sketching material and several varieties of iron gall ink. For his sketches, Leonardo used two different sketching tools, a lead pencil and a graphite pencil, as well as several types of ink for developing these sketches into drawings. With regard to ink, it is important to observe that there is no difference between the ink Leonardo used for drawing and the ink he used for writing text. Based on the materials analysed, we suggest a chronology for the creation of this unique folio.
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?”
The aim of the lecture is to present the productive interplay of connoisseurs and material analysis using the example of selected drawings from the Rembrandt collection of the Klassik Stiftung Weimar. We try to determine the point at which the question of the materiality of the drawings makes sense in the traditional discourse of connoisseurship. On the one hand, this involves the question of authorship – Rembrandt – or not? – and the locating of attributed drawings in the context of the work. On the other hand, it is about making drawing processes visible, characterizing ways of drawing and workshop practices as well as distinguishing different forms of reworking and copying within the Rembrandt workshop. The material analyses culminate in the question of whether Rembrandt’s inks can be distinguished at all.
It becomes apparent that the newly gained knowledge about the materiality of the drawing no longer reveals itself to the “mere” view of the connoisseur. Rather, it is only generated by the digital image. The rhetoric of connoisseurs must therefore be contrasted with the necessity of a hermeneutics of the digital image. The envisaged “material turn” of drawing science is thus simultaneously able to take up the critique of the question of authorship, which has been growing ever more recently, and to transfer it to a more comprehensive perspective of aesthetics of production.
We performed spatially resolved synchrotron-induced x-ray fluorescence analyses (SY-XRF) of five silverpoint drawings from the famous `Karlsruhe sketchbook´ and a silverpoint, which is assumed to be an original one used by the Renaissance artist Hans Baldung Grien (1484-1545) himself. The silverpoint, one out of a very small number of ancient styli conserved nowadays, is fixed on the so-called `Karlsruhe sketchbook´. Measurements were executed at the FLUO-TOPO beamline at the electron storage ring ANKA. It has been shown, that SY-XRF at this beamline is nondestructive and sensitive enough for the analysis of minor and major elements in the silver strokes. This study provides new insights into this graphical technique and ancient drawing instruments: results are that three drawings have been created with a common type of silverpoint containing about (10.4 ± 0.7) wt% of Cu. In all the cases, Hg at a 10% level by weight was identified in the strokes. Presence of Hg is not due to the original silver alloy, but is a result of a general alteration phenomenon of silverpoint drawings. This fact is confirmed by the analysis of the original silverpoint, which contains only small traces of Hg. The result for the copper content of the silverpoint (10.4 ± 1.7) wt% is in good agreement with that of these three drawings. It is supposable that the silverpoint found attached today served for the creation of the corresponding drawings. Moreover, the graphical technique of Baldung is found to be continual over three decades. Only one very late drawing dated to 1543 was probably realized with another silverpoint, containing about 3 wt% of Cu. This difference in the chemical composition of drawings from the late period might be used as a more precise dating indicator of Baldung drawings that are not clearly attributed to a certain period.
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.