A complementary spectroscopic approach for the non-invasive in-situ identification of synthetic organic pigments in modern reverse paintings on glass (1913–1946)

Steger, Simon; Stege, Heike; Bretz, Simone; Hahn, Oliver

doi:10.1016/j.culher.2019.01.011

Cited by 16 publications

(13 citation statements)

References 26 publications

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“…An alizarin-based red was found in the red areas, yielding typical bands at 846, 1190, 1276, 1298, 1351, 1366 and 1472 cm −1 in the DRIFT spectrum ( Fig. 11a) [7,9]. It needs to be emphasised that a clear discrimination between PR83 (synthetic alizarin) and natural madder lake is not possible with this method, but we would rather assume PR83 in the 1910s than its natural analogue.…”

Section: Analytical Resultsmentioning

confidence: 95%

“…It has often been reported in various artworks and 20th-century reverse glass paintings [e.g. 7,9,48]. PB52 is formed by combining an acidic (Alizarin Saphirol B, CI 63010) and a basic dye (Methylene Blue, CI 52015) [49] and was previously identified in a product palette for artists' colours made by Farbenfabriken vorm.…”

Section: Pigmentsmentioning

confidence: 99%

“…Transportation and sampling of paintings is often restricted due to the fragility of the glass support, hence non-invasive methods have been carried out to collect information on the materials [5,6]. Recently, non-invasive analyses of 20th-century reverse glass paintings has been published [7][8][9]. A publication on Chinese reverse glass paintings from the 19th-century discusses a possible influence of these paintings on European 20th-century reverse glass painting from the "Blaue Reiter" collective [10].…”

Section: Introductionmentioning

confidence: 99%

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Kandinsky’s fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky

Steger

Oesterle²,

Bretz

et al. 2019

Herit Sci

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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 . 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)(1912)(1913)(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.

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Section: Analytical Resultsmentioning

confidence: 95%

Section: Pigmentsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Kandinsky’s fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky

Steger

Oesterle²,

Bretz

et al. 2019

Herit Sci

Self Cite

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“…is a relatively straightforward phenomenon, diffusion is more complex since it depends on the pigment speci cations such as particle size, angle of impact, suspending medium, and difference in refractive index of pigment [12]- [14]. Some spectrophotometers such as FORS methodology provides the possibility to collect re ectance spectra from very small areas of the surface of paintings.…”

Section: Spectrophotometry Operates Based On Selective Light Absorptimentioning

confidence: 99%

“…Spectrophotometry presents spectral information in various archaeological, artistic, medical, biochemical sciences [10], and artworks [1], [11], revealing distinctive features not visible to the naked eye. The re ection spectrum of each pigment is speci c for that individual pigment, the same as ngerprint for human [12].…”

Section: Introductionmentioning

confidence: 99%

Identification of pigments in artworks by inverse tangent derivative of spectrum and a new filtering method

Fazlali

Kandi

2020

Preprint

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Employing an economical and non-destructive method for identifying pigments utilized in artworks is a significant aspect for preserving their antiquity value. One of the non-destructive methods for this purpose is spectrophotometry, which is based on the selected absorption of light. Mathematical descriptive methods such as derivatives of the reflectance spectrum, the Kubelka-Munk function and logarithm have been employed for the characterization of the peak features corresponding to the spectrophotometric data. In the present study, the mentioned mathematical descriptive methods were investigated with the aim to characterize the constituents of an Iranian artwork but were not efficient for the samples. Therefore, inverse tangent derivative equation was developed on spectral data for the first time, providing considerable details in the profile of reflectance curves. In the next part, to have a simpler and more practical method it was suggested to use filters made up of pure pigments. By using these filters and placing them on the samples, imaging was done. Then, images of samples with and without filter were evaluated and pure pigments were distinguished. The mentioned methods were also used to identify pigments in a modern Iranian painting specimen. The results confirmed these methods with reliable answers indicating that physical methods (alongside chemical methods) can also be effective in determining the types of pigments.

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In situ Raman spectroscopy for cultural heritage studies

Rousaki

Vandenabeele

2021

J Raman Spectroscopy

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Raman spectroscopy is considered as one of the most appreciated analytical techniques in the cultural heritage research field, thanks to some of its favourable characteristics such as the relatively quick time of analysis, identification of both inorganic and organic molecules. The necessity of conducting the research non-destructively on-site and directly on the artefact brought the technique out of the laboratory. Since 2004, when the first non-commercial mobile Raman instrument for in situ applications on cultural heritage objects was realized, years of continuous technical and instrumental developments have passed. Today, on-site Raman spectroscopy is considered as a cornerstone technique for the documentation of materials of works of art and the assessment of their conservation state without jeopardizing the integrity of the artefact. This paper reviews some of the breakthroughs of Raman analysis of cultural heritage objects, conducted on field (museum environment, outdoors and archaeological complexes).

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A complementary spectroscopic approach for the non-invasive in-situ identification of synthetic organic pigments in modern reverse paintings on glass (1913–1946)

Cited by 16 publications

References 26 publications

Kandinsky’s fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky

Kandinsky’s fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky

Identification of pigments in artworks by inverse tangent derivative of spectrum and a new filtering method

In situ Raman spectroscopy for cultural heritage studies

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