First insights into Chinese reverse glass paintings gained by non-invasive spectroscopic analysis—tracing a cultural dialogue

Steger, Simon; Oesterle, Diana; Mayer, Rupprecht; Hahn, Oliver; Bretz, Simone; Geiger, Gisela

doi:10.1007/s12520-019-00799-3

Cited by 8 publications

(3 citation statements)

References 41 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Orpiment, used alone or in admixture with other pigments, was recently identified on Egyptian sarcophagi (Vandenabeele et al 2007) and cartonnage (Gard et al 2020), early Irish manuscripts (Burgio et al 2013), Italian medieval and Renaissance manuscripts (Burgio et al 2010), English manuscripts (Panayotova et al 2017), Islamic manuscripts (Chaplin et al 2006, Burgio et al 2008, Persian manuscripts (Muralha et al 2012a), Byzantine manuscripts (Daniilia and Andrikopoulos 2007), Cistercian manuscripts (Muralha et al 2012b), Asian manuscripts (Nöller et al 2015), Visigothic manuscripts (Carter et al 2016), neareastern icons (Lahlil and Martin 2012), Indian palm-leaf manuscripts (Singh and Sharma 2020), Tudor portrait miniatures (Burgio et al 2012), Tibetan wall paintings (Li et al 2014b), Chilean archaeological sediments (Ogalde et al Uzon caldera in Kamchatka Orpiment, stibnite, uzonite Popova and Polyakov 1985;Popova et al 1986;Bychkov and Grichuk 1991;Migdisov and Bychkov, 1998 (Vermeulen et al 2015) and woodblock prints (Korenberg et al 2019), paintings in Ethiopian churches (Gebremariam et al 2016), Chinese reverse glass (Steger et al 2019) and chiaroscuro woodcuts (Laclavetine et al 2019).…”

Section: The Use Of Arsenic-based Pigmentsmentioning

confidence: 99%

Pigments—Arsenic-based yellows and reds

Gliozzo

Burgio

2021

Archaeol Anthropol Sci

View full text Add to dashboard Cite

This review offers an update on arsenic-bearing minerals and pigments with the aim of serving as a guide for the study of Cultural Heritage materials in which these materials can be found.The different As-bearing mineral phases (realgar, pararealgar, orpiment, anorpiment, alacranite, dimorphite, bonazziite, uzonite, wakabayashilite, duranusite, arsenolite and claudetite) and some of their light-induced products are examined. The occurrence of As-sulfides and their trade, use, alteration and degradation are also reviewed. Finally, the analytical techniques commonly used for the identification of arsenic-containing pigments are discussed. The manuscript concludes with a good-practice guide and a summary of key concepts for use by those working in the field of cultural heritage.

show abstract

Section: The Use Of Arsenic-based Pigmentsmentioning

confidence: 99%

Pigments—Arsenic-based yellows and reds

Gliozzo

Burgio

2021

Archaeol Anthropol Sci

View full text Add to dashboard Cite

show abstract

“…The aesthetic value of the Chinese landscape painting has been determined by the fact that a person, enjoying the image of "mountains and waters", comprehends the philosophy of human life, educates feelings, and also produces the purpose and principles of his/her own way (Geng, 2018). Moreover, it is namely this educational function of painting was one of the foundations of the Chinese model of aesthetic perception (Steger et al, 2019).…”

Section: Introductionmentioning

confidence: 99%

imagery and abstraction trend of Chinese contemporary oil painting

Yang

2021

lingcure

View full text Add to dashboard Cite

The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the execution of oil painting without preliminary sketches. The expressiveness inherent in Chinese art is achieved through four values of the artist. It is revealed that each artist attaches great importance to the choice of their professional tools and approaches it with an increased level of responsibility. The practical significance of the study is in the fact that the paper shows the possibility of developing the culture of traditional oil painting. It is shown that two opposites must be combined at the same time: dark and light, large and small, dry and wet, short and long, rare and frequent.

show abstract

“…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]. This paper will highlight the rediscovery of the technique of reverse glass painting by the artists of the "Blaue Reiter" collective in the early 20th-century and in particular will shed light on the role of Wassily Kandinsky .…”

Section: Introductionmentioning

confidence: 99%

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

View full text Add to dashboard Cite

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.

show abstract

First insights into Chinese reverse glass paintings gained by non-invasive spectroscopic analysis—tracing a cultural dialogue

Cited by 8 publications

References 41 publications

Pigments—Arsenic-based yellows and reds

Pigments—Arsenic-based yellows and reds

imagery and abstraction trend of Chinese contemporary oil painting

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

Contact Info

Product

Resources

About