Practical work in the academy studios, or as part of projects with collaborating institutions such as museums or monument preservation authorities, is particularly important.
Original artworks are used for this practical work, as a result of which, students learn much more than merely mastering the examination, preservation and restoration techniques. It is only by working on an original that the eye can be properly trained, and the responsible, sensitive and respectful treatment of the entrusted artworks can be taught. All the steps in the process – the examination, the development of concepts for preservation and restoration work, and their implementation and documentation – are carried out increasingly independently by students of the higher semesters under close supervision. This practical part of the restoration apprenticeship takes up about half of the five-year course.
Every year, the special class offers five university places. This ensures optimal supervision when students work on entrusted artworks. They spend the practical part of their studies in the special class studios that were completely redesigned in 2009. There is no dearth of interesting projects owing to the Germany-wide collaboration of the special class with numerous large and small museums, galleries, foundations, archives and monument preservation authorities.
In addition, there is always the opportunity to work on one of the third-party funded projects of the special class, also as part of semester break internships or summer schools. Examples include:
- Project “Konservierung und Restaurierung bemalter Rokoko-Wandbespannungen des Herrenhauses Ermlitz (Preservation and restoration of the painted Rococo wall coverings of Ermlitz mansion)” (in collaboration with the Apel`sche Kulturstiftung, funded by the Hermann Reemtsma Stiftung, 2008-2011)
- “Projektwerkstatt Lindenau-Museum Altenburg (Project workshop Lindenau-Museum Altenburg)” (in collaboration with the Lindenau-Museum Altenburg, funded by the German Federal Cultural Foundation and the Kulturstiftung der Länder as part of the KUR programme, 2009-2010)
- “Melanchthon-Projekt (Melanchthon project)” (in collaboration with the Stiftung Luthergedenkstätten in Sachsen-Anhalt, funded by private donations, 2009-2013)
Along with the concrete restoration work on original artwork, practical seminars – in addition to specialist lectures – help in learning and testing current and historical materials and preservation and restoration techniques.
The theoretical basics are taught in comprehensive specialist lectures and seminars.
A knowledge of historical artistic materials and painting techniques is of great importance for understanding the composition of paintings as well as ageing processes and damage. Here, too, knowledge is provided not only via lectures but also through the practical understanding of historical techniques or the copying of paintings in the context of art technology instruction teaching (subject area of Prof. Ivo Mohrmann).
The diploma theses of the special class are very practice-oriented. The diploma project topics range from Renaissance paintings to Rococo wall coverings to modern paintings or works of contemporary art. Since, on the basis of their diploma project, graduates have the opportunity to not only demonstrate their ability to do research work but also to show themselves as experienced professionals, they are highly valued in the job market.
As part of the specialist class projects, an intensive restoration work on original works of art takes place. This practical restoration part of the course takes up around half of the five-year study period. Project-based teaching teaches much more than just mastering examination, conservation and restoration techniques. Only by working on the original can the eye be meaningfully trained and the responsible, sensitive and respectful handling of works of art can be directly experienced. All work steps, from conception to restoration implementation to documentation, are carried out under intensive supervision and increasingly independently in higher semesters. The students learn to research and work with and on the works of art entrusted to them in a scientifically sound and technically versed manner.
Due to the Germany-wide cooperation of the specialist class with numerous project partners (museums, galleries, foundations, archives and institutions for state and church monument preservation), there is always the opportunity to work on one of the third-party funded projects of the course, also as part of cross-disciplinary semester holiday internships or summer schools.
In their seminar projects, students work on questions of current scientific importance. The range of practice-oriented diploma projects ranges from Renaissance paintings to Rococo wall coverings to modern paintings or works of contemporary art. The diploma project combines scientific research with practical conception and execution of conservation and restoration measures. This means that graduates can identify themselves as experienced professionals and are highly valued on the job market. There is also the possibility of doing a doctorate as part of dissertation or research projects.
The specialist class strives to support the transfer of knowledge in the field of art technology, conservation and restoration through conferences and workshops.
“The Risen Christ” from the property of the Diocese of Magdeburg (mehr erfahren)
The conservation and restoration of the paintings “Annunciation” and “The Three Kings” by Friedrich August von Klinkowström (mehr erfahren)
The conservation and restoration of the painting “View of the Meißner Castle Hill” by Gustav Adolf Hahn
The restoration of the Wittenberg portrait of Melanchthon (mehr erfahren)
Grotesque paintings Lindenau Museum Altenburg - Restoration of seven wooden panel paintings with grotesque paintings from a northern Italian room decoration (mehr erfahren)
The painted textile wallpapers of the Ermlitz mansion (mehr erfahren)
If you have any inquiries regarding scientific work, please contact the following email address:
schrifttausch@hfbk-dresden.de
2025
Stubbe, Carlotta
A children's bacchanal. Art-technological and restoration studies on a frequently reworked oil painting on its time of creation and restoration history
Wegener, Carla
The painting „Diogenes“ by Luvis Corinth (1891) - art-technological investigation and conception of a model to convey the painting technique
2023
Roth, Lilli Marie
The shooting pictures Niki de Saint Phalles. Art technological investigation
Pronadl, Luisa
Collar, hood and cuff - art technological study on Dutch painting of the 17th century
Schräder, Meret
Strengthening of the paint layer by adding methyl cellulose to the back - investigation on the canvas painting “M. Gottfried Meyer” by an unknown artist
2022
Becker, Marie
Comparative studies of putties bound to methylcellulose and rabbit skin glue. Application and drying properties in higher layer thicknesses.
Dyck, Mila
Liberat Hundredpfunds textbook from 1847. Technical studies on his color theory and glaze painting with oil.
Huget, Leonie Theres
Diffusion through flat tissue adhesions. Testing of various lining techniques with a particular focus on adhesive grid bonding.
March, Lucas
Comparative studies on natural and synthetic painting varnishes.
2021
Ahlfanger, Hannah
Ethanol evaporation as a method for regenerating varnishes.
Consolation, Antonia
The recording of the Wasserburg Anholt donation from the painting collection of the Princes of Salm-Salm.
2020
Alina Klitzke
Studies on the heat seal adhesive BEVA® 371. Effects of different sealing temperatures on bonds with BEVA®371 films.
Anna Rebecca Krone
Art technological study on the representation of black in painting. Experiments on materials and techniques from the second half of the 19th century as part of the “Oskar Zwintscher (1870–1916)” project. The unknown masterpiece”. (Publication in preparation)
Denise Piel
Ready-made putties for paintings on textile support. Properties and suitability of the industrially produced putties Fine Surface Polyfilla, Flügger Acrylspartel, inde, Modostuc and Gainsborough Picture Repair Putty with regard to the closure of defects in the picture layer structure of paintings on textile image carriers.
Marlena Schneider
Darkening phenomena on paint layers containing azurite and malachite. Experiments on the effects of historical alkaline cleaning agents.
Sarah Ray
“I wanted to free myself from formal discipline.” – A questioning of the artist Sery C. about his working techniques and materials using the example of the Painted Architectural Fragments work group. (for publication)
2019
Franziska Bunse
Digitization, recording and evaluation of two folders with workshop notes from the restorer Albert Leusch from 1927 to 1951.
Sophie Gurjanov
The Sarepta of Johannes Mathesius as an art technological source.
Zoe Neela Pannbacker
Studies/artist interview on the work and painting technique of Antje Blumenstein, in relation to a painting by the artist from the Saxon Art Fund in Dresden.
Anne Weidemann
“It will be a really colorful one. Vnnder all colors” – The mixture of auripigment and red lead based on Wolfgang Seidel’s ART BOOK I.
2018
Luisa Kahnert
“Nimb saffran souil du wild.” – Studies on the use of saffron in paint recipes from Wolfgang Seidel’s art book II.
Rebekka Kremkau
The copper-damaged textile wall coverings of the Ermlitz mansion. Experiments on the feasibility of polyester fleece manure lining.
Marie Elisabeth Menesi
“Paper on canvas” – The portrait of Elector Augustus of Saxony from the collegiate church in Chemnitz-Ebersdorf. Art-technological study of a laminated, colored drawing in the manner of a giant woodcut.
2017
Ella Dudew
Crack closure on the textile image carrier using a fiber-binder mixture. Influence of pre-gluing on the stability of the bond.
Publication with Eva Krug von Nidda and Sandra Plötz: Two studies on crack closure using a fiber-binder mixture, in: Journal for Art Technology and Conservation, 33 (2/2019), pp. 317-326.
Charlotte Hagedorn
Painting layer in the river. Investigations into the liquefaction of oil paint layers on Jan Kromke's paintings from the period 2009–2012.
Eva Krug from Nidda
Crack closure using a fiber-binder mixture. Studies on cotton image carriers.
Publication with Ella Dudew and Sandra Plötz: Two studies on crack closure using a fiber-binder mixture, in: Journal of Art Technology and Conservation, 33 (2/2019), pp. 317-326.
Nora Schlag
“Adoration of the Shepherds” by Gerrit van Honthorst. A detailed study of painting technique.
Rie Suzuki
Frankincense as a binding agent. Studies for Wolfgang Seidel's art book II.
2016
Franziska Motz
The fluorescent dye SYPRO Ruby. Histochemical staining of proteins on technical reference samples.
Publication with Annegret Fuhrmann: Experience report on histochemical staining of proteins on painting reference samples with the fluorescent dye SYPRO® Ruby, in: Journal of Art Technology and Conservation, 32 (2/2018), pp. 174-182.
Malin Sundermann
Damage phenomena on contemporary paintings due to disruptions in oil drying. Studies on selected works by the artist Jan Kromke.
Maria Shulga
"Plaub fab anzemachen" - Experimental approach to three recipes for the pretreatment of azurite pigment from the art book II by Wolfgang Sedelius.
2015
Paula Sowa
Light fastness testing of synthetic organic pigments from the 19th/20th century century.
Anna Bungenberg
Studies on the crack closure method using a fiber-binder mixture.
Katrin Kuberski
Five supraporte paintings by Charles Francois Hutin. Object history and state of preservation.
Anna Siegel
Examination and inventory of seven paintings from Fritz Tröger's early work, with particular attention to the history of the object and research on the artist.
Cathrin Wieduwild
The use of silicones for surface molding in painting restoration.
Publication: Silicones in painting restoration. Selection - Application - Residues, in: Journal for Art Technology and Conservation, 30 (1/2016), pp. 127-149.
2014
Katarzyna Cholewinska
About Max Slevogt's painting materials. Research and examination of the plywood painting “Lecture in a Mosque in Cairo II” (1914) from the New Masters Gallery of the Dresden State Art Collections.
Georg Ihlenfeld
Benjamin Calau and encausticism of the 18th century.
Publication: Benjamin Calau and encaustics of the 18th century, in: VDR Contributions to the Preservation of Art and Cultural Assets, 1/2015, pp. 49-57.
Svea-Kristin Köhler
Investigation and chronological classification of the different design levels on the wall coverings of the Chinese Cabinet, Wildenfels Castle.
Franziska Träber
The painting technique in Robert Sterl's late work with special consideration of the artist's colors used.
2013
Juliane Busch
The painting Sailing Ship (around 1815) by Caspar David Friedrich from the Chemnitz Art Collections. Investigation and painting technique study.
Publication: The painting Sailing Ship by Caspar David Friedrich - investigation and painting technique study, in: VDR Contributions to the Preservation of Art and Cultural Assets, 1/2014, pp. 32-41.
Sonja Bretschneider
Tin panels as image carriers. Using the example of altar paintings from the Evangelical Lutheran parish church in Hof (Saxony).
Sarah Giering
Studies on canvas priming in the 17th century.
Publication: Studies on the priming recipes (1620–1646) by Théodore de Mayerne, in: VDR contributions to the preservation of art and cultural assets, 1/2014, pp. 17-26.
Claudia Hartwich
On Theodor Rosenhauer's painting technique.
Iris Masson
Studies on the cloth fragment from the Cranach workshop from the electoral living room at Colditz Castle.
Marieluise Michaelis
Development of a conservation and presentation concept for the cloth fragment of the Cranach workshop from the electoral living room at Colditz Castle.
Ellen Schmidt
Studies on the use of black sheet metal as an image support in easel painting - based on the examination of the painting “Annunciation to Mary” from the Lindenau Museum Altenburg.
Tatjana Wischniowski
“So it will be green” – The verdigris recipes in Wolfgang Seidel’s art book II.
2012
Theresa Braunig
“Tensile strength – degree of polymerization. Zero breaking length – capillary viscometry.” – Determination of the maximum tensile force using zero breaking length on yarns and the connection with the intrinsic viscosity number.
Publication with Anna von Reden, Dirk Andreas Lichtblau and Christoph Herm: A new technique for determining the strength of textile image carriers and its connection to the degree of polymerization of cellulose, in: Journal for Art Technology and Conservation, 30 (2/2016), p. 351 ‒362.
Mine Erhan
Horizontal becomes vertical? 3D laser scanning to record changes in the “Restbild Cavigliano Aachen Express” by Daniel Spoerri.
Bianca Floss
A reference board with various signing agents and color spreads for the evaluation of digital infrared reflectograms. Test series with the InGaAs camera system X-XEVA-Large-HS.
Theresa Hermann
A predella with five scenes from the Passion and Resurrection of Christ by Luca Signorelli from the Lindenau Museum, Altenburg. Art-technological investigation and painting-didactic studies.
Mona Konietzny
First studies on stabilizing the copper-damaged textile wall coverings of the Ermlitz manor house using polyester fleece mist lining.
Anja Lindner
Studies on determining the pH value of flax fibers using chemical sensors.
2011
Max Einenkel
Possibilities for removing overlays on original gold lacquer using four fragments of the gold leather wallpaper in Moritzburg Castle.
Mandy Hellinger
Possibilities of reconstructing a portrait of Philipp Melanchthon.
Publication with Helena Dick, Ursula Haller, Sandra Plötz and Emilia Sleczek: Portrait without a face. Conservation, restoration and partial reconstruction of a life-size portrait of Philipp Melanchthon, in: Postprints of the conference “Works of Art of the Reformation Researched and Restored” of the Association of Restorers (VDR) in the Leucorea Foundation, Wittenberg, October 7-10, 2015, Petersberg
2010
Katharina Höyng
“Animated films from the German Institute for Animated Film e.V. Condition recording with material research”.
Publication: A documentation system for recording damage to cartoon films from the German Institute for Animated Film e.V., in: Journal for Art Technology and Conservation, 24 (2/2010), pp. 301-336.
Nora Pfeiffer
Alternative clamping methods. Tensile tests to determine the maximum tensile force of permanent magnets and Velcro tape.
Artemis Rüstau
A literature study on the development of artist surveys in conservation/restoration.
Lydia Schmidt
34 paintings by Adolf Friedrich Harper (1725-1806) from the property of the Klassik Stiftung Weimar. Recording the state of preservation taking art technology into account.
Emilia Sleczek
Portrait without a face. Digital image processing as an aid to reconstructing a portrait of Philipp Melanchthon.
Publication with Ursula Haller: Digital image processing as an aid to reconstructing lost representation in images, in: Postprints of the conference "Materiality" - The understanding of objects in the diverse disciplines in the field of art and cultural property of the BAM Federal Institute for Materials Research and Testing and N.i.ke. Network on interdisciplinary cultural heritage preservation in Germany, November 26th - 27th, 2015, Berlin 2017, pp. 108–115.
2009
Alexandra Böhme
The drying behavior of selected oil paints from Mal- und Künstlerfarben GmbH Nerchau.
Anja Eichler
The use of the polycyclohexanone resin AW2 in the restoration workshop of the Old Masters Picture Gallery and New Masters Gallery of the Dresden State Art Collections.
Nadia Glaser
The canvas painting Bacchanalian Scene by Louis de Silvestre. Investigation into its restoration history and considerations for future handling.
Regina Hoffmann
Investigations into reduced single thread bonding with thread and fabric bridges on cracks in the textile image carrier.
Esther Rapoport
Surface cleaning of acrylic glass.
Stefan Schreier
Permanent magnet and Velcro: Alternative mounting methods for large-format paintings.
Nicoline Zornikau
Binder for dry pigment retouching on matt painting surfaces. Literature research on selected materials and their application.
If you have any inquiries regarding scientific work, please contact the following email address:
schrifttausch@hfbk-dresden.de
2024
Ahlfänger, Hannah
Material-related damage phenomena on two paintings by the artist Doris Titze. Restorative treatment of fatty acid efflorescence, exuded oil binder and polished surfaces on contemporary oil paintings.
Dyck, Mila
Technical examination, conservation and restoration of the painting “Feierabend auf dem Lande” by Gustav Adolf Friedrich from the Pommerschen Landesmuseum. The development of pre-primed textile supports in the 19th century: An investigation based on the works of Gustav Adolf Friedrich.
Marz, Lucas
The monumental multi-part „Gedächtnisaltar für Elfriede Friedrich“ by Ernst Müller-Gräfe (1925-1927). Examination, conservation and framing concept.
2023
Klitzke, Alina Carola
"Men at the Pier I" by Rainer Fetting. Conservation of a large-format canvas painting and interviewing the artist about his materials and techniques (learn more)
Megerlin, Lilian Sophie
Portrait of Sophie von Henneberg.
Examination, conservation and restoration of a canvas painting from the 17th century with mounting on the decorative frame (find out more)
Schneider, Marlena
Examination and restoration of the painting “Russian Pope” by the Nazarene Peter Rittig - thinning of clouded coatings on resin-containing paintings (find out more)
2022
Bunse, Franziska
“There is nothing to say about painting, we can only talk about the method.” Painting technique investigation and restoration of two paintings by the specific artist Andreas Brandt: mold, spider and fly secretions on monochrome surfaces (find out more) (publication in preparation)
Krone, Anna Rebecca
The art of imitation in the context of Canaletto's Venetian vedutas - art-technological investigation and restoration of the painting "View of the Grand Canal" from the Rostock Cultural History Museum (find out more)
Pannbacker, Zoe Neela
A portrait of Louise Bénédicte de Bourbon, Duchess of Maine, Princess of Condé. Conservation, cleaning and reassembly of an oval canvas painting.
Piel, Denise
The large-scale overpainted canvas painting “Allegory of the Peace Festival 1779” from the Schloßbergmuseum Chemnitz. Restorative treatment of a historical condition (find out more)
Ray, Sarah
Dissolving. Conservation and restoration of the water-damaged canvas painting East Frisian Girl from 1897 by Anton Otto Friedrich Prölß (find out more)
2021
Kremkau, Rebekah
Volume 1 - Practical Part: A “Flower Still Life with Insects” (1682) by Rachel Ruysch. Technology - restoration history - image carrier conservation
Volume 2 – Appendix to Volume 1
Volume 3 - Theoretical Part: Butterfly Wings, Moss and Lizard Skin. A comparative study of artistic techniques in Sottobosco paintings
(Publication in preparation)
Gurjanov, Sophie
Investigation, conservation and restoration of the portrait of Mayor Heinrich Rassow from the Rassow epitaph of the town church of St. Jakob and St. Dionysius in Gadebusch (find out more)
Kahnert, Luisa
The portrait of Princess Maria Kunigunde of Saxony from the Catholic parish of St. Heinrich and Kunigunde Pirna
Art technological investigation – decoupling - image layer consolidation (find out more)
Weidemann, Anne
The portraits of Christian August Freiherr von Friesen and his wife Marie Charlotte Freifrau von Friesen on Rötha - conservation and restoration to an established state (find out more)
2020
Charlotte Hagedorn
Heaven, Lord and fragment. Restoration of a fragment of a painting that has been revised many times while preserving historical additions. (learn more)
Publication: in preparation
Eva Krug from Nidda
“The Day – Victory of Light” (1906/1907) by Georg Lührig. Examination, conservation and installation of a large-format mural design. (learn more)
Marie Menesi
Art technological investigation, conservation and restoration of the canvas painting “A Family Picture” from 1816. Findings on Johann Friedrich Matthäi’s painting technique. (learn more)
Nora Schlag
Examination, conservation and restoration of the small-format paintings “Brandstätte”, “Alter Harper” and “Surf” from the Dresden State Art Collections, Galerie Neue Meister. (learn more)
Cathrin Wieduwild
The portrait of “M. M. Köhlerin” GRASSI Museum for Applied Arts in Leipzig. Investigation – Conservation – Restoration – Presentation. (learn more)
2019
Ella Dudew
“The Risen Christ” from the Diocese of Magdeburg, art technology and restoration history. (learn more)
Rie Suzuki
Examination, conservation and restoration of a small-format gentleman's portrait from the 19th century. (learn more)
2018
Anna Maria Bungenberg
Examination, conservation and restoration of two canvas paintings Christian Rohlfs' “Andechs Monastery” and “The Three Kings” from the Rostock Cultural History Museum. (learn more)
Katarzyna Joanna Cholewinska
Examination, conservation and restoration of the paintings Leek (1990) and Rhubarb (1994) by Cornelia Schmelze from the art fund of the Dresden State Art Collections. (learn more)
Franziska Motz
The canvas painting “Lady with a Bouquet of Lily of the Valley” (1899) by Maria Anna Wagener from the Ibbenbüren City Museum. Examination, conservation and restoration of a work of art that has significantly changed its format. (learn more)
Maria Shulga
Conservation and restoration of the canvas painting “Gerhard Johann David von Scharnhorst” (around 1813) by Friedrich Bury (1763–1823) from the Bundeswehr Military History Museum Dresden and comparative studies of Friedrich Bury’s painting technique, which was mottled onto a hardboard. (learn more)
Anna Siegel
Investigation, conservation and restoration of the canvas painting “Christ in Limbo” by an unknown artist. (learn more)
Paula Sowa
The conservation and restoration of the canvas painting Woman with Child on Her Lap based on studies of the painting technique by the Dresden artist Karl Erich Schaefers. (learn more)
Clara Malin Sundermann
A family portrait from the 19th century from the Rötha City and Local History Museum. Conservation of the cut, deformed and water damaged canvas painting. (learn more)
2017
Katrin Kuberski
The examination and conservation of a painting with the depiction of St. Maria Magdalene from the high altar out of the former castel chapel in Datteln-Horneburg
2016
Sarah Giering
Eight unstretched paintings by the Berlin artist Hans Stübner, investigation - conservation - restoration - presentation. (learn more)
Georg Ihlenfeld
Examination and restoration of the canvas painting “Bust of Saint Mary Magdalene with two putti” by an unknown artist. (learn more)
Iris Masson
The plywood panel paintings by Max Feldbauer (1869-1948) in the museums of the city of Regensburg. Conservation measures and development of a methodology for consolidating the delaminated image carriers. (learn more)
Publication: Painting on plywood. Consolidation of delaminated plywood picture supports by the painter Max Feldbauer, in: Journal for Art Technology and Conservation, 31 (2017/2), pp. 292-319.
Svea-Kristin Köhler
Examination, conservation and restoration of the canvas painting “Man with a Ruff” from the Art History Museum, Rostock. (learn more)
2015
Tatjana Wischniowski
“Friedrich Duke of Braunschweig-Lüneburg”. Conservation and restoration of the small-format canvas painting (G 1358) from the Klassik Stiftung Weimar. Examination and comparison of six portraits of the “Dukes of Braunschweig-Lüneburg”. (learn more)
Juliane Busch
Practical part: The examination and conservation of the large-format canvas painting “Queen Karoline Friederike Wilhelmine of Bavaria” (1813) by Joseph Karl Stieler from the Dresden State Art Collections.
Theoretical part: Joseph Stieler's painting technique. Comparative art-technological study of four of the artist's paintings.
Marieluise Michaelis
The conservation and restoration of the puppet theater brochure “Rittersaal/Stube” (1909) by Jakob Heidinger from the puppet theater collection of the Dresden State Art Collections. (learn more)
2014
Sonja Bretschneider
Practical part: The epitaph painting by Christian Gottlieb Milich von Baarsdorf († 1725) from the Nikolaikirche in Görlitz. Conservation of a heat-damaged oil painting on a corroded copper support.
Theoretical part: Evaluation of suitable polyacrylic acid esters for consolidating oil-based painting on copper.
Claudia Hartwich
Practical part: Conservation of the canvas painting “Caroline Luise, née Princess of Saxe-Weimar-Eisenach” (1824) by G.C. Lenthe from the property of the Klassik Stiftung Weimar. Closing of the cracks in the very finely woven image support.
Theoretical part: Investigations into crack bonding using a fiber-binder mixture.
Publication with Sandra Plötz: Crack bonding using a fiber-binder mixture, in: Journal for Art Technology and Conservation, 30 (2/2016), pp. 325-337.
Mona Konietzny
Practical part: “Madonna with Child” by an unknown artist, Prussian Palaces and Gardens Berlin-Brandenburg Foundation. Conservation of a canvas painting that has been double-doubled, changed in format and painted over over a large area.
Theoretical part: Wax facings on paintings from the Prussian Palaces and Gardens Berlin-Brandenburg Foundation. Systematic recording and evaluation of material characteristics.
2013
Theresa Braunig
Practical part: The investigation, conservation and restoration of the painting “Nymph with Cupid” (late 18th/early 19th century) by Josef Grassi from the property of the Lindenau Museum Altenburg.
Theoretical part: A testimony to the painting restoration between 1935 and 1955 as an example of the emergence, transformation and professionalization of the profession of conservation and restoration.
Max Einenkel
Practical part: Two lined canvas paintings from Thammenhain Castle. Investigation, preservation and attempts at undoubling.
Theoretical part: The temporary paint layer protection for the planned undoubling. Method development with a focus on the use of volatile binders.
Mine Erhan
Practical part: The examination, conservation and restoration of the painting “Italian Coastal Landscape” by Joh. Wagner from the collection of the Freiberg City and Mining Museum.
Theoretical part: The virtual reconstruction using digital image processing based on art technological investigations and an approach to the work process.
Theresa Herrmann
Practical part: The examination and restoration of an oval portrait of Duchess Charlotte Georgine of Saxe-Hildburghausen from the Lindenau Museum Altenburg.
Theoretical part: The painting technique of the portrait in comparison with painting technique source writings from the 18th and early 19th centuries.
Bianca Floss
Practical part: “Friedrich Wilhelm III. King of Prussia”, around 1840, Prussian Palaces and Gardens Berlin-Brandenburg Foundation (GK I 171). Conservation of a canvas painting reduced in size by folding all four sides.
Theoretical part: Format changes in paintings on textile support.
Anja Lindner
Practical part: Examination, conservation and restoration of the princely portrait “Henry the Pious” by Christoph Lindemann, which is suspended from the associated decorative frame.
Theoretical part: Possibilities of re-mounting the princely portrait “Henry the Pious” by Christoph Lindemann, taking into account the presentation and historical montage.
2012
Mandy Hellinger
Practical part: Conservation and restoration of eight paintings by Josef Hegenbarth on textile support and cardboard from the Lindenau Museum Altenburg.
Theoretical part: Art Technology of eight paintings by Josef Hegenbarth, which use cardboard and textile media and originate from the Lindenau-Museum Altenburg
Stefanie Hentschel
Practical part: Five chinoise paintings from the property of Moritzburg Castle (Saxony). Investigation, concept for conservation and restoration and the conservation of the most damaged specimen.
Theoretical part: The development of a mounting and presentation form for the paintings considering the results of their technological examination
Marina Langner
Practical part: Conservation and restoration of the canvas painting Maximilian I. Joseph, King of Bavaria (1756-1825) from the Mainfränkisches Museum Würzburg.
Theoretical part: How to deal with the cracks in preparation for lining, taking into account the special features of the image support.
Nora Pfeiffer
Practical part: The conservation and restoration of the triptych Diluviaal bewijs by Eduard Heijmans, Lindenau-Museum Altenburg.
Theoretical part: Studies on the painting technique of the artist Eduard Heijmans from 1958 to 1972.
Francesca Schneider
Practical part: The conservation and restoration of the painting “Kitchen supplies. Dead Wild”, around 1834, by the artist Jakob Lehnen from the property of the Alte Nationalgalerie, Berlin State Museums.
Theoretical part: Possibilities and limits in the conservational handling of a wax-soaked painting. Practical experiments on the reduction and extraction of wax from a partially soaked image structure.
Alexia Stern
Practical part: Examination, conservation and restoration of copper-damaged textile wall coverings from the Ermlitz manor house. Concept development and implementation on a track from room 1 (“flower room”).
Theoretical part: Attempts to secure breaks and defects in the heavily degraded textile image carrier of the upper wall coverings in preparation for lining.
2011
Anja Eichler
Practical part: The conservation and restoration of the painting “A White Heron”, unknown artist, around 1680, Dresden State Art Collections, Moritzburg Castle.#
Theoretical part: The gluing of inlays on canvas paintings, using the example of the painting “A White Heron” by an unknown artist around 1680.
Katharina Höyng
Practical part: Conservation of the cartoon films from the film “Plaste Color (II)”, 1968, by Heinz Engelmann from the German Institute for Animated Film. Polyvinyl acetate and alkyd resin paints on cellulose acetate film.
Theoretical part: Concept for the preventive preservation of the cartoon films from the German Institute for Animated Film e.V.
Artemis Rüstau
Practical part: Restoration of the twill painting “Pifferari praying in front of a picture of the Madonna” (Johann Grund, 1843). Considerations for dealing with a historical, partial varnish removal.
Theoretical part: Bonding of cracks on the twill fabric. Preliminary consideration of the approach and its execution.
Lydia Schmidt
Practical part: The restoration of a grisaille painting (17th/18th century Klassik Stiftung Weimar) on mesh canvas. With particular attention to the preservation of the image medium.
Theoretical part: Considerations on how to deal with historical tension frames using the example of a Teutonic Order painting using the grisaille technique.
Emilia Sleczek
Practical part: “Bach in Winter (Dargun)”, 1920, Marie Hager, Schwerin State Museum. Restoration of a canvas painting that was reduced in size by folding on all four sides and was heavily soiled by tobacco smoke and fly secretions.
Theoretical part: Fly secretions in the painting “Bach in Winter (Dargun), 1920, Marie Hager. Phenomenology and restoration approaches.
Nicoline Zornikau
Practical part: Restoration of the painting “Auf Rügen” by Otto Lange (painting on paper, dated 1912). Attempts to preserve the painting “Children Driving Tires” by Georg Richter-Lößnitz (painting on fabric image support, dated 1917).
Theoretical part: Assumptions about the causes of layer separation and attempts to stabilize the standing layer of paint.
2010
Alexandra Böhme
Practical part: The examination, conservation and restoration of the painting “Friedrich August I. The Just, King of Saxony (1750-1827), second half of the 18th century, from the property of the Klassik Stiftung Weimar.
Theoretical part: Considerations on the description of painting techniques and the practical application of protein varnish in the second half of the 18th century.
Nadia Glaser
Practical part: The examination, conservation and assembly of the main fragment of a painted textile wall covering from the 18th century.
Theoretical part: Conceptual considerations for object presentation including relevant practical examples.
Regina Hoffmann
Practical part: The restoration of the painting “Friedrich II, King in Prussia” (1743) by David Matthieu from the Military History Museum of the Bundeswehr Dresden.
Theoretical part: primer or underpainting? Studies on the use of multi-layered primers and underpaintings in the early 18th century.
Esther Rapoport
Practical part: The conservation and restoration of the trompe l'œil painting “Wall with Tenier's Engraving” by an unknown master, Gemäldegalerie Alte Meister, Kassel.
Theoretical part: Wax-containing temporary paint layer protection on paintings from the Old Masters Collection Kassel. Collection and investigation.
Stefan Schreier
Practical part: Consolidation of the chalk drawing “Table Picture” (2009) by Martin Honert and the conservation and restoration of the painting “Face” (2002) by Eberhard Havekost.
Theoretical part: Questioning the artist Martin Honert about dealing with his work.
Publication: The consolidation of the chalk drawing panel picture (2009) by Martin Honert, in: The transience of the material, contributions to the successful Cologne conference, Association of Restorers, Bonn 2015, pp. 24-37.
2009
Elke Cwiertnia
Practical part: Conservation and restoration of the “German Values (inflatable)” object. A printed, inflatable PVC “selection” bag by KP Brehmer from 1967.
Theoretical part: Considerations and experiments to determine an adhesive for attaching alkyd resin paint layers to PVC film.
Publication: A Case Study: Consolidation & Retouching of Alkyd Paint on an Inflatable PVC-bag from 1967 (Poster), International Symposium Contemporary Art: Who Cares? Research and Practices in Contemporary Art Conservation, 2010.
Helena Dick
Practical part: The conservation of the textile image support of a pilgrim icon of the Proskynetarion type by Isaak Demetrakes, 1818, private collection.
Theoretical part: The doubling of the pilgrim icon by Isaak Demetrakes, 1818. Material engineering experiments on the use of acrylic resin P 550-40 as a doubling agent.
Miriam of Gersum
Practical part: Conservation of a Korean temple image (first half of the 20th century) from the Ethnological Museum Berlin.
Theoretical part: Investigation and reenactment of the painting technique of a Korean temple picture (first half of the 20th century) from the Ethnological Museum Berlin.
Reni Mothes
Practical part: Examination, conservation and restoration of the paintings “Boy with Cage and Bird” (C333) and “Boy with Bird” (C332), both around 1810 by Christian Leberecht Vogel from the Lindenau Museum in Altenburg.
Theoretical part: Clamping systems for textile image carriers during the priming process. An evaluation based on five sources of painting techniques between around 1750 and around 1850.
Eliza Reichel
Practical part: “The Victorious Rooster”, 17th century, Melchior d'Hondecoeter (workshop), SKD. Conservation and restoration of a 17th century canvas painting.
Theoretical part: Aspects of the preventive conservation of canvas paintings at a selected presentation location in the eastern staircase of the baroque Moritzburg Castle in Saxony.
Kathrin Sündermann
Practical part: Conservation and restoration of paintings #440 and #475 by David Reed.
Theoretical part: Alkyd resin paint technology - use - conservation and restoration.
Jakob Wedemeyer
Practical part: Restoration of the canvas painting “Two marmosets with a waxwing bird”, around 1700, artist unknown, Dresden State Art Collections, Moritzburg/Saxony Collection.
Theoretical part: The back protection in Moritzburg. Aspects of the preventive conservation of canvas paintings in the eastern staircase of the baroque hunting lodge Moritzburg/Saxony.
2008
Bennke, Anne-Sophie
Conservation of the canvas painting “Dead Representation of the Duchess Christiana of Sachsen-Merseburg” painted by an unknow artist in 1701 from the inventory of the Merseburger Cathedral Treasury
Securing of paint layer on a very destructed textile support and considerations to reinforce this fabric as to a restretching
Möckel, Viola
Restoration of a landscape painting from August Wilhelm Julius Ahlborn
Examination of the painting technique of the works of August Wilhelm Julius Ahlborn
Mona Konietzny
Adhesive grid - application and properties for bonding in painting restoration with a focus on textile image supports. (learn more)
Jonathan Debik
Preserving light art - studies on the conservational use of electrical lighting in contemporary art. (find out more about the artemak+X research project)
Sarah Giering
Fluorescent colors as artist's material. Studies on the use and degradation of fluorescent dyes in modern and contemporary art. (find out more about the artemak+X research project)
Maria Lörzel
Research and preservation of the glass figures of the German Hygiene Museum - concepts for active preservation. (to the project, to the research publication)
Esther Rapoport
The technique of painting at the HfBK Dresden in the GDR.
Kristina Mösl
“Monk by the Sea” and “Abbey in the Eichwald”. Research into Caspar David Friedrich's painting technique. (for publication)
Monika Kammer
The exploration of art. The artist, painting technician and restorer Kurt Wehlte and the development of art scientific radiography. (for publication)
Silke Beisiegel
“Back then I pursued all painterly means.” Art technological research on the work of the historical painter Hermann Prell (1854‒1922). (for publication)
Anne Wermescher
Art on the go. The history of art transport from the beginning of the 19th to the end of the 20th century. (for publication)
Armgard Schrenk
From Rostock workshops? Comparative art-technological studies on seven wing retables around 1500. (for publication)
Anna von Reden
Studies on the hygric behavior of aged canvases. (for publication)
Thomas Krämer
Original and historical varnishes on works from the Gemäldegalerie Alte Meister Kassel. Layer structure, forms and causes of damage, restoration problems. (for publication)
Wibke Neugebauer
“From Böcklin to Kandinsky. Art technological research on tempera painting in Munich between 1850 and 1914”. (Published in 2016 as BookOnDemand, 488 pages.)
List of current and former project partners (selection)
Alte Nationalgalerie Berlin
Apel´sche Kultur-Stiftung
Bayerisches Nationalmuseum München
Deutsches Institut für Animationsfilm, Dresden
Erbengemeinschaft Georg Lührig
Ethnologisches Museum Berlin
Erzbischöfliches Ordinariat Magdeburg
Freiherr von Schönberg, Schloss Thammenhain
Galerie Gebr. Lehmann, Dresden
Gemäldegalerie Alte Meister Kassel
Graf zu Solms-Sonnenwalde, Schloss Wurschen
Grassi-Museum Leipzig
Hamburger Kunsthalle
Heimatmuseum Ibbenbüren
Heimatmuseum Rötha
Historisches Museum Köthen
Historisches Museum Regensburg
Ikonenmuseum Frankfurt/Main
Kirchgemeinde Datteln-Horneburg/Landschaftsverband Westfalen-Lippe
Kirchgemeinde Kemnitz-Ludwigsburg
Kirchgemeinde Maxen
Klassik Stiftung Weimar
Kloster Marienstern
Kulturhistorisches Museum Rostock
Kustodie und Kunstsammlung der Universität Leipzig
Landesamt für Denkmalpflege Sachsen
Landesamt für Denkmalpflege und Archäologie Sachsen-Anhalt
Lindenau-Museum Altenburg
Mainfränkisches Museum Würzburg
Militärhistorisches Museum der Bundeswehr, Dresden
Museum der Stadt Lichtenstein
Museum für Moderne Kunst Frankfurt/Main
Nikolaikirche Görlitz
Röm.-Katholische Pfarrei St. Heinrich und Kunigunde Pirna
Schloss Altrahnstädt
Schloss Colditz
Schloss Klippenstein, Radeberg
Schloss Moritzburg, Sachsen
Schloss Wildenfels
Schulz-Stübner-Stiftung
Sparkassenstiftung, Leipzig
Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister
Staatliche Kunstsammlungen Dresden, Galerie Neue Meister
Staatliche Kunstsammlungen Dresden, Kunstfonds
Staatliche Kunstsammlungen Dresden, Skulpturensammlung
Staatliche Kunstsammlungen Dresden, Museum für Sächsische Volkskunst mit Puppentheatersammlung
Staatliche Kunststammlungen Schwerin
Städtische Galerie Dresden
Städtische Museen Limbach-Oberfrohna, Schloss Wolkenburg
Städtische Museen Zittau
Stadtkirche zu Gadebusch
Stadtmuseum Leipzig
Stadt- und Bergbaumuseum Freiberg
Stiftung Luthergedenkstätten in Sachsen-Anhalt
Stiftung Preußische Schlösser und Gärten, Schloss Sanssouci, Potsdam
Vereinigte Domstifter zu Merseburg und Naumburg und des Kollegiatstifts Zeitz
Professor of the special class
Prof. Dr. Haller, Ursula
Art Technology, Preservation and Restoration of Painting on Mobile Picture Carriers
Address: | Güntzstraße 34 |
Raum Nr. 309 | |
Phone: | |
Email: |
Konietzny, Mona
Art Technology, Preservation and Restoration of Painting on Mobile Picture Carriers
Güntzstraße 34 |
Room Nr. 303 |
Plötz, Sandra
Art Technology, Preservation and Restoration of Painting on Mobile Picture Carriers
Güntzstr. 34 |
Raoom Nr. 303 |
