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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.
The development of anti-corrosive pigments for the most diverse coating Systems is extremely time consuming and expensive, owing to the necessary climatic testing, such as testing under salt spray exposure. To accelerate work on a new zinc-free pigment with improved protection, modern, electrochemical investigation methods have been used successfully and verified using traditional tests.
The great variety of manuscripts found in the Turfan oasis at the Start of the twentieth Century by Grünwedel and Le Coq reflects the cultural backgrounds of, and communication among, the people who travelled along the network of Eurasian trade routes. Specifically, this Connection is directly reflected by the use and distribution of inks, pigments, and papers. Research is now underway to examine these and a report on the initial findings is given below.