id	author	title	date	pages	extension	mime	words	sentences	flesch	summary	cache	txt
work_w5keigit55h2baapmj7a4mgbrm	Simon Steger	Kandinsky's fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky	2019	17	.pdf	application/pdf	11732	1141	67	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 (1866–1944). 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 Rudern indicates an early use of this material for reverse glass paintings. Keywords: Kandinsky, Reverse glass painting, Non-invasive analysis, Pigment identification, DRIFTS, Synthetic organic Traditional 19th-century reverse glass paintings reveal characteristic features like two-dimensional areas of unbroken For example, Kandinsky created two analogies of the reverse glass painting Allerheiligen I (1911) II, Rudern, Apokalyptische Reiter II) by Wassily Kandinsky (Fig. 1), housed in the Städtischen Galerie im Lenbachhaus und Kunstbau in Munich, were examined 1914 and was the last reverse glass painting that Kandinsky created in Murnau.	./cache/work_w5keigit55h2baapmj7a4mgbrm.pdf	./txt/work_w5keigit55h2baapmj7a4mgbrm.txt