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Pigments, dyes, and black enamel-the colorants of reverse paintings on glass

Bibliographic Data

ID5375175
AuthorsOliver Hahn (0000-0001-9015-4545, Federal Institute For Materials Research and Testing), Simone Bretz (0000-0001-5924-5801), Carola Hagnau, Hans-Jörg Ranz, Timo De Wolff (0000-0003-0883-1389, Federal Institute For Materials Research and Testing), Timo Wolff
Year2009
Volume1
Issue4
Pages263-271
Publication date2009-12-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueArchaeological and Anthropological Sciences (JOURNAL)
Journal identifiersISSN: 1866-9557 • E-ISSN: 1866-9565
PublisherSpringer Science and Business Media LLC (PUBLISHER)
DOI10.1007/s12520-009-0021-4
OpenAlexW1972642215
LanguageEN
Citations received4
References cited10

Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form “reverse painting on glass” has technically to be characterized as a mixture of “stained glass” and “panel painting” that nonetheless develops into a genre of its own

Art · Carbon black · Composite material · Enamel paint · Painting · Pigment · Polymer science · Visual arts · Building materials and conservation · Conservation Techniques and Studies · Cultural Heritage Materials Analysis · Materials Science

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Unique citing works4
Citations per year0,57
Citation span2019 - 2022 (4)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 4

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