Luster color
The terms luster color , luster , luster painting, luster (from Latin lustrare , 'illuminate', 'brighten') denote the metallic shimmering coating of faience , less often of porcelain or glass. The transparent colored frame of sculptures backed with leaf metal and the likewise transparent color to increase the luminosity of certain areas on panel paintings are named in this way.
Ceramics
technology
The luster colors on early Islamic and Italian majolica of the 9th to 16th centuries are emulsions of metal sulfates or oxides, mixed with ocher, which were applied in an acidic solution to the glaze created during the first firing and melted on in a smooth firing (overglaze firing ) at a moderate temperature . Occasionally, porcelain was also decorated with luster paints.
In contemporary artisan ceramic technology, metal nitrate and metal chloride solutions are applied before the second firing to create flat and flowing luster. Iridescent surfaces produced with other techniques or glaze materials are also often referred to as “chandeliers” here, as is the case with artificial glass .
History of the luster faience
Luster ceramics originated in Mesopotamia and Persia in the 9th and 10th centuries. Lustered wall tiles for furnishing prayer niches in sacred rooms were decorated with ornamental ribbons. The gold-colored luster pottery from Baghdad was also known in the Caliphate of Cordoba as early as the 10th century. Own production in Iberia, which was ruled by the Moors , was only proven in the 13th century for Málaga and Granada . The Alhambra vases , which are covered with tendrils of delicate, gold-shimmering arabesques , are famous . Until the 16th century z. B. manufactured in Valencia gold luster ware and exported to Italy via Mallorca as so-called majolica after the island . She was highly valued there and she was soon copied. The first Italian pieces were made in the pottery town of Deruta around 1500. Their golden-yellow luster colors in combination with other hot-fire colors remained a defining feature of the faiences there in the subsequent period. In Gubbio , which soon competed with Deruta , the metallic sheen had a rather copper-red color. In faience and porcelain from Northern Europe luster colors only rarely.
painting
technology
In order to reproduce the reflective sheen of gemstones or brocade fabrics in painting, for example , the barrel painters of the Middle Ages coated surfaces covered with silver leaf with a transparent colored glaze. They preferred red and green luster colors. Textile-like structured surfaces were created by pressing punches or tremoling irons into the chalk ground . Instead of silver or gold leaf, medieval painting treatises (e.g. with Theophilus around 1110) also recommend tinfoil (tin foil) as a base for glaze paints, but the few examples that have survived are less brilliant than the precious metal bases. If silver leaf is only covered with warm-toned glaze in order to achieve a golden sheen, the painting technology speaks of "gold lacquer", although there is no technical difference to multi-colored luster.
Chandeliers in the history of panel painting, the setting of sculptures and picture frames
In the iconography of the East Lüsterung is common since the 12th century. The oldest German example is the disc cross in St. Maria zur Höhe in Soest, made around 1230. From around 1400 to the end of the Middle Ages, the use of the technology increased. In the Renaissance it was not entirely frowned upon, but it was used very deliberately. For example, in his Battle of Alexander in 1529 , Albrecht Altdorfer deposited the setting sun with gold leaf. On the portrait of Henry VIII, which Hans Holbein the Younger painted around 1540, he applied a red glaze to silver leaf to make the painted silk robe shine. In mannerism, sculptures and ornaments were often decorated with small areas with chandelier frames. Ludwig Münstermann applied this effect to the vestments of sculptures in the later 17th and even more generously in the 18th century . In Spain, the generous luster of the robes of sculptures was widespread until the 19th century, which also had an impact on the painting technique in Latin American countries. The luster colors have disappeared from high art since classicism. But they live on in decoration techniques to this day. Picture frames so-called gold frames were, especially in the 19th century, "gold-plated" with the help of this technique for cost reasons, by first silvering the primed frame and then applying gold varnish.
literature
- Brigitte Klesse: Majolika , (catalogs of the Kunstgewerbemuseum Cologne) Cologne 1966, pp. 8–26.
- Gustav Weiß: Keramik-Lexikon, Bern 1998/2003, p. 193 (on today's technologies)
- Lexicon of Art, Leipzig 1975, Vol. 3, pp. 73f. (Article Lüster, Lüsterfayence)
- Rolf E. Straub: Tafel- und Tüchleinmalerei and Manfred Koller: Maltechniken im 16. Jahrhundert , in: Reclams Handbook of Artistic Techniques , Vol. 1, Stuttgart 1984, pp. 187-189, 235f., And 315-319.
Individual evidence
- ↑ Knut Nicolaus: DuMont's Bildlexikon der Gemäldebestetermination . DuMont Buchverlag, Cologne 1982, ISBN 3-7701-1243-1 , p. 132 .