Bretz S, Baumer U, Stege H, von Miller J, von Kerssenbrock-Krosig D. A German house altar from the sixteenth-century: conservation and research of reverse paintings on glass. Stud Conserv. 2009;53(4):209–24.
Article
Google Scholar
Baumer U, Dietemann P, Koller J. Identification of resinous materials on 16th and 17th-century reverse-glass objects by gas chromatography/mass spectrometry. Int J Mass Spectrom. 2009;284:131–41.
Article
CAS
Google Scholar
Baumer U, Dietemann P. Identification and differentiation of dragon’s blood in works of art using gas chromatography/mass spectrometry. Anal Bioanal Chem. 2010;397:1363–76.
Article
CAS
Google Scholar
Baumer U, Fiedler I, Bretz S, Ranz HJ, Dietemann P. Decorative reverse-painted glass objects fromthe fourteenth to twentieth centuries: an overview of the binding media. Stud Conserv. 2012;57(sup1):9–18. https://doi.org/10.1179/2047058412Y.0000000034.
Article
CAS
Google Scholar
Hahn O, Bretz S, Hagnau C, Ranz HJ, Wolff T. Pigments, dyes, and black enamel—the colorants of reverse paintings on glass. Archaeol Anthrop Sci. 2009;1:263–71.
Article
Google Scholar
Mollica Nardo V, Renda V, Anastasio G, Caponetti E, Saladino ML, Vasi CS, Ponterio RC. A combination of portable non-invasive techniques to study on reverse glass paintings at Mistretta museum. Microchem J. 2019;146:640–4.
Article
Google Scholar
Steger S, Stege H, Bretz S, Hahn O. Capabilities and limitations of handheld diffuse reflectance infrared fourier transform spectroscopy (DRIFTS) for the analysis of colourants and binders in 20th-century reverse paintings on glass. Spectrochim Acta A. 2018;195:103–12.
Article
CAS
Google Scholar
Steger S, Bretz S, Stege H, Hahn O. Methodological approach for in situ spectroscopic analysis of modern reverse paintings on glass: a case study of Kreuzabnahme (1914/15)—an outstanding example by Carlo Mense. Eur Phys J Plus. 2019. https://doi.org/10.1140/epjp/i2019-12549-6.
Article
Google Scholar
Steger S, Stege H, Bretz S, Hahn O. A complementary spectroscopic approach for the non-invasive in situ identification of synthetic organic pigments in modern reverse paintings on glass (1913–1946). J Cult Herit. 2019. https://doi.org/10.1016/j.culher.2019.01.011.
Article
Google Scholar
Steger S, Oesterle D, Mayer R, Hahn O, Bretz S, Geiger G. First insights into Chinese reverse glass paintings gained by non-invasive spectroscopic analysis—tracing a cultural dialogue. Archaeol Anthrop Sci. 2019. https://doi.org/10.1007/s12520-019-00799-3.
Article
Google Scholar
Roethel HK. Gabriele Münter: 1877–1962. Ausstellung vom 13. Okt. bis 2. Dez. 1962, Städt. Galerie im Lenbachhaus, München. [exhibition catalogue]. Munich: Städt. Galerie im Lenbachhaus; 1962 (in German).
Google Scholar
Hoberg A. Gabriele Münter in München und Murnau 1901–1912. In: Hoberg A, Friedel H, editors. Gabriele Münter 1877–1962. Retrospektive. Munich: Prestel; 1992. p. 27–46 (in German).
Google Scholar
Gockerell N. Hinterglasbilder, Schnitzereien und Holzspielzeug von Gabriele Münter gesammelt, kopiert und in ihren Werken dargestellt. Munich: Prestel; 2000 (in German).
Google Scholar
Dütsch I. “…daß die Glasbilder nicht aussterben…” Neue Erkenntnisse zur Geschichte der Murnauer Hinterglasmalerei In: Bayerisches Jahrbuch für Volkskunde. Munich; 2002. p. 81–102. (in German).
Vail KPB. Die Werke. In: Friedel H, editor. Kandinsky—Absolut. Abstrakt. Munich: Prestel; 2008. p. 50 (in German).
Google Scholar
Der Salmen B. Der Almanach „Der Blaue Reiter“. Bilder und Bildwerke in Originalen. Murnau: Schloßmuseum Murnau; 1998 (in German).
Google Scholar
Hoberg A. assily Kandinsky—Absolut. Abstrakt. Konkret. In: Friedel H, editor. Kandinsky—Absolut. Abstrakt. Munich: Prestel; 2008. p. 190–225 (in German).
Google Scholar
Zweite A. Kandinsky und München, Begegnungen und Wandlungen 1896–1914. Munich: Prestel; 1982.
Google Scholar
Roethel HK, Benjamin JK. Kandinsky. Werkverzeichnis der Ölgemälde: 1900–1915, vol. 1. Munich: C.H. Beck Verlag; 1982 (in German).
Google Scholar
Wackernagel RH. “Bei ‚Öl‘auch Aquarell…, bei ‚Aquarell’auch Öl usw.”, Zu Kandinskys Ateliers und seinen Maltechniken. In: Friedel H, editor. Das Bunte Leben. Wassily Kandinsky im Lenbachhaus. Cologne: DuMont; 1995. p. 547–67 (in German).
Google Scholar
Winkelmeyer I. El cosmos de color de Kandinsky Tecnologia artistica de los años 1896 a 1914. In: Fernández Félix M, editor. Kandinsky, pequeños mundos. Instituto Nacional de Bellas Artes/Museo del Palacio de Bellas Artes: México; 2018. p. 174–99 (in Spanish).
Google Scholar
Bretz S. Hinterglasmalerei, die Farben leuchten so klar und rein. Maltechnik, Geschichte, Restaurierung. Munich: Klinkhardt & Biermann; 2013 (in German).
Google Scholar
Cable M. The development of flat glass manufacturing processes. Trans Newcomen Soc. 2004;74:19–43.
Article
Google Scholar
Otero V, Campos MF, Pinto JV, Vilarigues M, Carlyle L, Melo MJ. Barium, zinc and strontium yellows in late 19th- early 20th-century oil paintings. Herit Sci. 2017;5:46.
Article
Google Scholar
Hakeem MA, Jackson DE, Hamlin JJ, Errandonea D, Proctor JE, Bettinelli M. High pressure raman, optical absorption, and resistivity study of SrCrO4. Inorg Chem. 2018;57:7550–7.
Article
CAS
Google Scholar
Monico L, Janssens K, Hendriks E, Brunetti BG, Miliani C. Raman study of different crystalline forms of PbCrO4 and PbCr1-xSxO4 solid solutions for the noninvasive identification of chrome yellows in paintings: a focus on works by Vincent van Gogh. J Raman Spectrosc. 2014;45:1034–45.
Article
CAS
Google Scholar
Barsan MM, Butler IS, Fitzpatrick J, Gilson DFR. High pressure studies of the micro-raman spectra of iron cyanide complexes: prussian blue (Fe4[Fe(CN)6]3), potassium ferricyanide (K3[Fe(CN)6]), and sodium nitroprusside (Na2[Fe(CN)5(NO)]·2H2O). J Raman Spectrosc. 2011;42:1820–4.
Article
CAS
Google Scholar
Samain L, Grandjean F, Long GJ, Martinetto P, Bordet P, Strivay D. Relationship between the synthesis of prussian blue pigments, their color, physical properties, and their behavior in paint layers. J Phys Chem C. 2013;117:9693–712.
Article
CAS
Google Scholar
Silva CE, Siva LP, Edwards HGM, De Oliveira LFC. Diffuse reflection FTIR spectral database of dyes and pigments. Anal Bioanal Chem. 2006;386:2183–9.
Article
CAS
Google Scholar
Vetter W, Schreiner M. Characterization of pigment-binding media systems comparison of non-invasive in situ reflection FTIR with transmission FTIR microscopy. ePS. 2011;8:10–22.
CAS
Google Scholar
Miliani C, Rosi F, Borgia I, Benedetti P, Brunetti BG, Sgamellotti A. Fiber-optic fourier transform mid-infrared reflectance spectroscopy: a suitable technique for in situ studies of mural paintings. Appl Spectrosc. 2007;61(3):293–9.
Article
CAS
Google Scholar
Zumbuehl S, Scherrer NC, Berger A, Eggenberger U. Early viridian pigment composition characterization of a (hydrated) chromium oxide borate pigment. Stud Conserv. 2009;54:149–59.
Article
CAS
Google Scholar
Invernizzi C, Daveri A, Vagnini M, Malagodi M. Non-invasive identification of organic materials in historical stringed musical instruments by reflection infrared spectroscopy: a methodological approach. Anal Bioanal Chem. 2017;409:3281–8.
Article
CAS
Google Scholar
Frost RL, Martens WN, Kloprogge T. Raman spectroscopic study of cinnabar (HgS), realgar (As4S4), and orpiment (As2S3) at 298 and 77K. Neues JB Miner Monat. 2002;10:469–80.
Article
Google Scholar
Desnica V, Furic K, Schreiner M. Multianalytical characterization of a variety of ultramarine pigments. ePS. 2004;1:15–21.
CAS
Google Scholar
Caggiani MC, Cosentino A, Mangone A. Pigments checker version 3.0, a handy set for conservation scientists: a free online Raman spectra database. Microchem J. 2016;129:123–32.
Article
CAS
Google Scholar
Ashoka S, Nagaraju G, Thipperudraiah KV, Chandrappa GT. Controlled synthesis of cadmium carbonate nanowires, nanoribbons, nanorings and sphere like architectures via hydrothermal method. Mater Res Bull. 2010;45:1736–40.
Article
CAS
Google Scholar
Ashoka S, Chithaiah P, Chandrappa GT. Studies on the synthesis of CdCO3 nanowires and porous CdO powder. Mater Lett. 2010;64:173–6.
Article
CAS
Google Scholar
Monico L, Rosi F, Miliani C, Daveri A, Brunetti BG. Non-invasive identification of metal-oxalate complexes on polychrome artwork surfaces by reflection mid-infrared spectroscopy. Spectrochim Acta A. 2013;116:270–80.
Article
CAS
Google Scholar
Fremout W, Saverwyns S. Identification of synthetic organic pigments: the role of a comprehensive digital Raman spectral library. J Raman Spectrosc. 2012;43:1536–44.
Article
CAS
Google Scholar
Miliani C, Rosi F, Daveri F, Brunetti BG. Reflection infrared spectroscopy for the non-invasive in situ study of artists’ pigments. Appl Phys A Mater. 2012;106:295–307.
Article
CAS
Google Scholar
Buti D, Rosi F, Brunetti BG, Miliani C. In-situ identification of copper-based green pigments. Anal Bioanal Chem. 2013;405:2699–711.
Article
CAS
Google Scholar
McMillan G, Casadio F, Fiedler I, Sorano-Stedman V. An investigation into Kandinsky’s use of Ripolin in his paintings after 1930. J Am Inst Conserv. 2013;52(4):258–77.
Article
Google Scholar
Steele E, McMillan G, Khandekar N, Mysak E. Side by side: the technical investigation of sketch I for painting with white border and painting with white border. In: Smithgall E, editor. Kandinsky and the harmony of silence: painting with white border. Washington D.C: Yale University Press; 2011. p. 106–21.
Google Scholar
McMillan G, Kowalski V. Kandinsky’s materials and techniques: a preliminary study of five paintings. In: Bashkoff T, editor. Kandinsky (exhibition catalogue). New York: Solomon R. Guggenheim Foundation; 2009. p. 121–3.
Google Scholar
Zumbühl S, Gross M. Alexej von Jawlensky, Wassily Kandinsky – Eine Künstlerfreundschaft aus materialtechnologischer Sicht, Reihe Bild und Wissenschaft – Forschungsbeiträge zu Leben und Werk Alexej von Jawlenskys, vol. 3. Locarno: Alexej von Jawlensky Archiv; 2009. p. 256–63.
Google Scholar
Mayer R. The artist’s handbook of materials and techniques. New York: Viking Press; 1991.
Google Scholar
Fux A. Zur Verwendung synthetisch organischer Pigmente in der Kunst des 20. Jahrhunderts. MA-Thesis, Hochschule der Künste Bern, 2013. (in German).
Venkataraman K. The Chemistry of Synthetic Dyes, vol. 5. London: Academic Press; 1971.
Google Scholar
Schäning A. Synthetische organische Farbmittel aus einer technologischen Materialsammlung des 19./20. Jahrhunderts: Identifizierung, Klassifizierung und ihre Verwendung sowie Akzeptanz in (Künstler)Farben Anfang des 20. Jahrhunderts. Ph.D.-thesis, Akademie der Bildenden Künste Wien; 2010. (in German).
Stege H, Richter M, Steuer C. Indanthrenblau, Helioechtrot and Pigmentscharlach—identification of synthetic organic pigments in paintings of Ernst Ludwig Kirchner using Raman microscopy. ZKK J Art Technol Conserv. 2013;27(1):30–42.
Google Scholar
Skowranek H, Stege H, Krekel C, Steuer C. Eilido colours. Sources relating to the introduction of coal-tar colours and their controversial reception in the early 20th-century. In: Eyb-Green S, Townsend JH, Pilz K, Kroustallis S, van Leeuwen I, editors. Sources on art technology: back to basics. London: Archetype Publications; 2016. p. 34–42.
Google Scholar
Centeno S, Buisan VL, Ropret P. Raman study of synthetic organic pigments and dyes in early lithographic inks (1890–1920). J Raman Spectrosc. 2006;37:1111–8.
Article
CAS
Google Scholar
Geiger G, Bretz S. Heinrich Campendonk, Die Hinterglasbilder. Cologne: Wienand; 2017 (in German).
Google Scholar
Freytag O. Hinterglasmalerei: Ihre künstlerische Eigenart und Arbeitsweise in Vergangenheit und Gegenwart. Ravensburg: Otto Maier Verlag; 1937 (in German).
Google Scholar
Wessels E. Die Hinterglasmalerei: Anleitungen zur Herstellung von Malereien hinter ober unter Glas, sowie Glasmalerei-Imitation, Glas-Vergoldung und dergleichen. Esslingen: Neff; 1913 (in German).
Google Scholar
Skrabec QR. Aluminum in America: a history. Jefferson: McFarland; 2016.
Google Scholar
Van der Snickt G, Dik J, Cotte M, Janssens K, Jaroszewicz J, De Nolf W, Groenewegen J, Van der Loef L. Characterization of a degraded cadmium yellow (CdS) pigment in an oil painting by means of synchrotron radiation based X-ray techniques. Anal Chem. 2009;81(7):2600–10.
Article
Google Scholar
Topalova-Casadiego B, Plahter U. The Scream by Edvard Munch: painting techniques and colouring materials. In: Spring M editor. Studying old master paintings technology and practice The national gallery technical bulletin 30th anniversary Conference postprints. London: Archetype; 2011. p. 244–252.
Pouyet E, Cotte M, Fayard B, Salomé M, Meirer F, Mehta A, Uffelman ES, Hull A, Vanmeert F, Kieffer J, Burghammer M, Janssens K, Sette F, Mass J. 2D X-ray and FTIR micro-analysis of the degradation of cadmium yellow pigment in paintings of Henri Matisse. Appl Phys A Mater. 2015;121:967–80.
Article
CAS
Google Scholar
Mass JL, Opila R, Buckley B, Cotte M, Church J, Mehta A. The photodegradation of cadmium yellow paints in Henri Matisse’s Le Bonheur de vivre (1905–1906). Appl Phys A Mater. 2013;111:59–68.
Article
CAS
Google Scholar
Mass J, Sedlmair J, Schmidt Patterson C, Carson D, Buckley B, Hirschmugl C. SR-FTIR imaging of the altered cadmium sulphide yellow paints in Henri Matisse’s Le Bonheur de vivre (1905–6)—examination of visually distinct degradation regions. Analyst. 2013;138(20):6032–43.
Article
CAS
Google Scholar
Miliani C, Monico L, Melo MJ, Fantacci S, Angelin EM, Romani A, Janssens K. Photochemistry of artists dyes and pigments: towards better understanding and prevention of colour change in works of art. Angew Chem Int Ed. 2018;57:7324–34.
Article
CAS
Google Scholar
Comelli D, MacLennan D, Ghirardello M, Phenix A, Schmidt Patterson C, Khanjian H, Gross M, Valentini G, Trentelman K, Nevin A. Degradation of cadmium yellow paint: new evidence from photoluminescence studies of trap States in Picasso’s Femme (Époque des “Demoiselles d’Avignon”). Anal Chem. 2019;1:1. https://doi.org/10.1021/acs.analchem.8b04914.
Article
CAS
Google Scholar
Ghirardello M, Mosca S, Marti-Rujas J, Nardo L, Burnstock A, Nevin A, et al. Time-resolved photoluminescence microscopy combined with X-ray analyses and raman spectroscopy sheds light on the imperfect synthesis of historical cadmium pigments. Anal Chem. 2018;90:10771–9.
Article
CAS
Google Scholar
Fiedler I, Bayard MA. Cadmium Yellows, Oranges and Reds. In: Feller RL, editor. Artists pigments: a handbook of their history and characteristics, vol. 1. London: Archetype Publications; 1986. p. 65–108.
Google Scholar
Barnett VE. Katalog. In: Friedel H, editor. Das Bunte Leben. Wassily Kandinsky im Lenbachhaus. Cologne: DuMont; 1995. p. 570–653 (in German).
Google Scholar
Neugebauer W. Von Böcklin bis Kandinsky Kunsttechnologische Forschungen zur Temperamalerei In München zwischen 1850 und 1914. Berlin: Pro Business digital; 2015 (in German).
Google Scholar
Roethel HK. Vasily kandinsky: painting on glass (Hinterglasmalerei). New York: Solomon R. Guggenheim Foundation; 1966.
Google Scholar
Wackernagel RH. “Ich werde die Leute… in Öl und Tempera beschwindeln,…”. Neues zur Maltechnik Wassily Kandinskys. ZKK Zeitschrift für Kunsttechnologie und Konservierung. 1997;11(1):97–128. (with English translation, pp. 129–144). (in German).
Dagron B. Inventaire du matériel de l’atelier du peintre Vassily Kandinsky. Techne, la science au service de l’histoire de l’art et des civilisations. 1998;8:64–76 (in French).
Google Scholar
Dietemann P, Neugebauer W, Lutz L, Beil C, Fiedler I, Baumer U. A colloidal description of tempera and oil paints, based on a case study of Arnold Böcklin’s painting Villa am Meer II (1865). ePS. 2014;11:29–46.
Google Scholar