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

Abstract

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.

In situ Raman spectroscopy for cultural heritage studies

“…For the analysis of reverse paintings made on glass, multi‐analytical on‐field approaches yield good results for the analysis of a range of materials, including glass, synthetic organic pigments, inorganic pigments, ground layers and binders. [ 99–102 ]…”

“…For the analysis of reverse paintings made on glass, multi-analytical on-field approaches yield good results for the analysis of a range of materials, including glass, synthetic organic pigments, inorganic pigments, ground layers and binders. [99][100][101][102] Regarding the on-site analysis of mosaics with mobile Raman spectroscopy, Rousaki et al [39] described the application of four different mobile Raman instruments (three portable and one handheld) during the on-site analysis of Mosaico de los Amores, at the C astulo archaeological site in Linares, Spain. Two of the systems were equipped with one laser (a 785 nm and a 1064 nm per system), and two of them were dual-laser spectrometers (a system with a 532-and 785-nm lasers and a sequentially frequency-shifted excitation instrument with a 785-/853-nm lasers).…”

Visual Arts in the University Educational Ecosystem: Analysis of Schools of Knowledge

“…Cluster 4 (Music): This school of knowledge is directed by the term "music". The English critic Roger Fry in 1912 developed the concept of visual music by linking both elements, and making reference to the work of the Russian artist Wassily Kandinsky, whose paintings merge the perception of hearing and sight [58]. This research describes how sound is a symptom of movement and that sound can also be seen with the eye.…”