Filtern
Erscheinungsjahr
- 2018 (231) (entfernen)
Dokumenttyp
- Vortrag (97)
- Zeitschriftenartikel (53)
- Posterpräsentation (45)
- Beitrag zu einem Tagungsband (14)
- Buchkapitel (10)
- Zeitschriftenheft (Herausgeberschaft für das komplette Heft) (4)
- Forschungsbericht (4)
- Sonstiges (2)
- Monografie (1)
- Dissertation (1)
Sprache
- Englisch (152)
- Deutsch (73)
- Spanisch (3)
- Chinesisch (2)
- Französisch (1)
Schlagworte
- Biofilms (10)
- Ink (10)
- Leaching (10)
- Corrosion (9)
- E. coli (8)
- NAP-XPS (8)
- XRF (8)
- Archaeometry (7)
- Manuscript (7)
- Nano (7)
Organisationseinheit der BAM
- 4 Material und Umwelt (231) (entfernen)
Eingeladener Vortrag
- nein (97)
Mikroskopische Pilze, die sich schnell auf verfügbaren Oberflächen ausbreiten können und die wir (wenn sie sich ansammeln), auch mit bloßem Auge erkennen können, werden Schimmelpilze genannt. Da diese Organismen verschiedene organische Kohlenstoffverbindungen als Nahrung benutzen, werden sie sich bei wachstumfördernden Feuchtigkeitsbedingungen in Bibliothekbeständen schnell ausbreiten können. Im Vortrag werden Haupteigenschaften aller Pilze, sowie auch aktuelle Methoden der Identifizierung dieser Organismen erörtert.
Benutzung geeigneter Lebendkulturen als Referenzorganismen geben der Materialprüfung und -forschung eine Möglichkeit des reproduzierbaren Experimentierens mit verschiedenen Materialien und Simulation von Bedingungen im Gebrauch. Vorteile unserer Testverfahren sind: (i) Zeitraffung und Kontrollierbarkeit der Umweltparameter; (ii) Benutzung einer naturnahen Vergesellschaftung; iii) gezielte Variationen der Prüfbedingungen im Labor.
Ziel dieser Untersuchungen ist einerseits biogene Schäden an neuen Materialien zu verfolgen und zu modellieren, und damit eine bessere Planungsgrundlage für die Materialentwicklung anzubieten. Andererseits werden mit den Referenzorganismen mikrobiologisch moderne und zeitraffende Techniken angeboten, die neue Behandlungsmethoden oder Pflegeverfahren für die Bestandserhaltung erwarten lassen.
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.
Development of a methodical approach for in-situ analysis of modern reverse paintings on glass
(2018)
The technique of painting on the reverse side of glass was rediscovered by artists in the early 20th century and gained great popularity, especially in Germany. 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.
Scientific investigation of the material provides important information for appropriate conservation concepts. Transport of the precious and fragile objects to the lab is often not feasible. Therefore, in-situ, non-invasive analysis is necessary to analyse colorants and binders. However, some analytical problems need to be considered: due to the reverse paint stratigraphy in reverse paintings on glass, the measured layer is always the backmost one. The analytical possibilities are extremely reduced, when the back is covered by a metal foil (or by paper, carton etc.). However, measurements through the glass (using Raman and VIS) can still yield information on the colourants of the front layer.
When the paint layer is accessible, we start our procedure using X-ray fluorescence (Tracer III-SD, Bruker AXS Microanalysis GmbH, 40 kV, 15 μA) and VIS reflectance spectroscopy (SPM 100, Gretag-Imaging AG). Both techniques provide first information on the inorganic colourants. Raman measurements (i-Raman®Plus, Bwtek inc., 785 nm, 50× objective, resolution 4 cm-1) are then carried out to clarify uncertain XRF measurements and to identify synthetic organic pigments (SOP). Diffuse Reflection-Infrared-Fourier-Transform Spectroscopy (DRIFTS; ExoScan, Agilent GmbH, 4000–650 cm-1, 500 scans, spectral resolution 4 cm-1) is used for the classification of the binders. Moreover, it may help to identify SOP, when fluorescence dominates the Raman signal. This analytical sequence yields the best results, when time is the limiting factor.
We present two in-situ studies of the paintings “Kreuzabnahme” (1914-15) by Carlo Mense and “Stadt am Morgen” (1921) by Walter Dexel. The painting “Kreuzabnahme” is an outstanding piece in Mense’s ɶuvre, because the glass plate was painted on both sides (Fig. 1). The results of the back-side show mainly inorganic pigments: basic lead white, talc, red and brown ochre, cinnabar, chrome yellow, viridian, ultramarine blue, Prussian blue and bone black. The classification of binding media using DRIFTS yields positive results for drying oil. Acrylic resin could be identified in two areas, resulting from a previous restauration treatment. For the front side painting, Mense used basic lead white, cinnabar, chrome yellow and umbra as pigments and oil as binder.
Measurements of the abstract painting “Stadt am Morgen” by Walter Dexel show zinc white, basic lead white, chalk, cinnabar, red lead, strontium yellow, cadmium yellow, cobalt blue, Prussian blue, ultramarine blue, brown ochre and bone black as pigments. Moreover, synthetic alizarin (PR83) was identified as dark red colorant. The results of DRIFTS classify oil as binding media.
We conclude that, the use of complementary spectroscopic methods yields the best results for in-situ analysis of reverse paintings on glass.
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 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.
The technique of painting on the reverse side of glass was rediscovered by artists in the early 20th century. The artist group “Der Blaue Reiter” around Wassily Kandinsky and Franz Marc got in touch with this technique in 1908 and 1909. In the following years it gained great popularity, especially in Germany. Nevertheless, the technique has not received its due appreciation in art history. It was considered as stained glass. However, the paint layers are applied cold, hence this artistic technique doesn’t involve a firing step.
Our multidisciplinary project investigates the art historic backgrounds, the painting techniques and materials of modern reverse paintings on glass. More than 1000 paintings from ~100 artists were discovered in the framework of our project. A selection of 60 paintings could be analyzed using non-invasive, in-situ methods such as Raman and VIS spectroscopy, Diffuse Reflectance Fourier Transform Infrared Spectroscopy (DRIFTS) and X-ray fluorescence (XRF). In this paper we want to point out the key role of Raman spectroscopy for our research. It offers the unique opportunity to measure paint layers from both sides. (front = through the glass; reverse = directly on the paint layer).
The technique of painting on the reverse side of a glass panel was rediscovered by German artists at the beginning of the 20th century. They appreciated the impressive gloss, luminosity, and depth of colours in this genre. Compared to stained glass, the distinctive properties of this technique are: (1) the paint is applied “cold”, hence, it doesn’t involve a firing step, (2) reverse paintings on glass are framed and always viewed in reflected light and (3) the reverse paint stratigraphy is different from canvas paintings, starting with the front most layer and ending with the backing layer. In 1908 several artists, including Gabriele Münter, Wassily Kandinsky, Heinrich Campendonk, August Macke and Franz Marc of the “Der Blaue Reiter” (the Blue Rider) collective took an interest in this technique and started to share their interest with other colleagues in Europe. Our pioneering project is tracing this transfer of knowledge by a multidisciplinary approach in terms of art history, paint technology and material science. More than 100 artists and >1000 reverse paintings on glass were identified during the project. This high number of objects clearly points 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. Special attention is paid to the impact of synthetic organic pigments (SOP) in artists palette. Demonstrative examples by W. Kandinsky, L. G. Buchheim and F. Jespers are used to discuss analytical challenges and highlights.
In the near future, phosphorus (P) recycling will gain importance in terms of decreasing primary resources. Sewage sludge (SSL) is an adequate secondary P-resource for P-fertilizer production but it is also a sink for heavy metals and organic pollutants. The present study is an investigation on thermochemical P-recycling of SSL. Various temperatures and amendments were tested regarding their performance to remove heavy metals and polycyclic aromatic hydrocarbons (PAH) and simultaneous increase of the plant-availability of P. The investigations were carried out on two types of SSL originating from wastewater treatment plants with chemical P-precipitation and enhanced biological P-removal, respectively. The results show that thermochemical treatment with chlorine donors is suitable to remove the majority of heavy metals and that a combination of a gaseous chlorine donor (HCl) and sodium additives leads to both high heavy metal removal and high plant availability of P. Furthermore, plant experiments Show that almost all investigated thermochemical treatments can significantly reduce the bioavailability and plant uptake of heavy metals. Furthermore, PAHs are secondarily formed during low-temperature treatments (400–500 ° ), but can be significantly reduced by using sodium carbonate as an additive.
Jährlich entstehen in Brasilien ca. 2 bis 10 Millionen Tonnen Aschen aus der Verbrennung von Zuckerrohrbagasse. Die Aschen enthalten schwankende Zusammensetzungen an mineralischen Nährelementen und könnten daher zu Düngezwecken verwendet werden.
Allerdings ist (i) die Nährstoffverfügbarkeit gering, (ii), die entsprechende Nährstoffzusammensetzung nicht optimal für die Nutzung der Aschen als Düngemittel für die Hauptanbaukulturen in Brasilien und (iii) weisen die Aschen aufgrund häufig schlechter Verbrennungsqualitäten hohe organische Kohlenstoffgehalte auf. Im Rahmen des Forschungsprojekts ASHES („Rückführung von Nährstoffen aus Aschen von thermochemischen Prozessen mit Bagasse bzw. Zuckerrohrstroh“), arbeiten 7 deutsche und 4 brasilianische Partner an der Optimierung der thermochemischen Verwertung von Rückständen aus der Zuckerproduktion in Brasilien, inklusive der Formulierung von optimierten Düngemischungen auf Basis der generierten Aschen. In dieser Veröffentlichung wird die Verarbeitung dieser optimierten Mischungen zu Pellets und Granulaten unter Verwendung verfügbarer regionaler Reststoffe wie Filterkuchen (Vinasse-Presskuchen) sowie Hühnertrockenkot beschrieben. Zur Untersuchung der Handlingeigenschaften wurden die produzierten Pellets und Granulate hinsichtlich ihrer mechanischen Stabilität und des Wasseraufnahmevermögens untersucht. Dafür wurden geeignete Prüfverfahren angepasst und entsprechende Versuche durchgeführt.
The challenge of the project ASHES is focused on the recycling of nutrients from residues of thermochemical processing of by-products of sugar cane industry (bagasse/straw) in Brazil to increase the energy efficiency of thermal conversion and to enable the recycling of process ashes as fertilisers. Dry lignocellulosic biomass (straw, bagasse) are combusted, gasified and subsequently combined with post-thermochemical treatment in the AshDec process to increase the plant availability of phosphorus. Different fertilizer formulations are granulated/pelletized and tested regarding their storage/handling characteristics.