Paul-Bernhard Eipper
PAUL-BERNHARD EIPPER received his Diploma as a Conservator in 1992 from the University of Applied Sciences, Cologne, Germany. Since 1990 he has been Head of Conservation at the August Deusser Museum, 5330 Bad Zurzach, Switzerland. From 2000 to 2009 he serves as one of three a publicly appointed expert at the Chamber of Commerce where he served as an expert in questions concerning art restoration under legal consideration in Germany. Since 2006 he has been Head of Conservation at the Universalmuseum Joanneum, Graz, Austria. In 2009 he received his PhD from the Faculty of Medicine at the private University of Witten-Herdecke in Germany (summa cum laude). 2013 to 2017 he served as President of IIC Austria (The International Institute for Conservation of Historic and Artistic Works, Austria) as well as member of the extended board of Museumsbund Österreich (Association of Museums in Austria). Since 2015 he has been member of the board of the Egon Schiele Research Society, Vienna. Fellow of IIC. He gives lectures at the Institute of Art History at Karl-Franzens-Universität, Graz and The Academy of Fine Arts and Design, Department of Conservation and Restoration, Laboratory of Modern and Contemporary Painting Restoration, Bratislava, Slovakia, where he became professor for modern and contemporary painting restoration in 2020. He is author of more than 300 publications, 14 books, as well as editor 11 books, i.e. seven editions of „Handbuch der Oberflächenreinigung (Handbook of surface cleaning)“. His main field of interest are painting techniques and the aqueous cleaning of oil- and acrylic-paint surfaces. Author’s address: Referat Restaurierung, Universalmuseum Joanneum, Weinzöttlstrasse 16, 8045 Graz, Austria.
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Papers by Paul-Bernhard Eipper
depicted here Alice B. Toklas, the partner of Picasso‘s friend Gertrude Stein, in a typical prop suit.
Describes various digital 3D strip projections and confocal measurements on treated and untreated surfaces (paper, chalk ground layer, oil colour).
Focuses on the painting material, working process, and painting technique of Austria's most famous animal artist, Norbertine von Bresslern-Roth (1891-1978). Her artwork shows great consistency of techniques between 1925 and 1978. Preparing her own jute supports and ground preparation, she developed no new painting techniques after about 1925. The article gives information about her opinion on how a painting should appear and that it should not be varnished.
The painting technique of the Austrian artist Maria Lassnig (1919–2014) can be seen as an example for the artistic creation of a generation. Her work process in composing the image, the materials and techniques used, vary and yet have constants that are worth a closer examination - also with regard to other artists and works of art of her time. Especially with regard to conservation measures, a detailed examination of the specific painting techniques the artist employed is necessary
Even today, the relationship between painting and photography is the subject of complex discourses. It is all the more remarkable that in the 1930s the painter and graphic artist Norbertine Bresslern-Roth and the animal filmmaker, author and photographer Paul Eipper, both born in 1891, met in a friendly and supportive manner in order to "break a new lance for our 'friend animal'". The intensity with which they both worked on the same subject - the animal - at the same time suggests that they both, highly respected and popular in their time, may have found each other of their own accord. The study of both biographies confirms this assumption.
It is easily available in our latitudes, which also implies a certain value: Firewood, construction wood, carving wood and veneer wood allow conclusions to be drawn. Specific properties were valued, as specific properties were valued, and fashions (for certain woods) were also found expression in their use. Often the purpose the processing or treatment.
Provides information about the EU-project "Tracing the Art of the Straub Family" (TrArS ), 2018-19. The Straub family of sculptors worked throughout Croatia, Slovenia, Austria, and Bavaria (Germany) during the Baroque period. The article reviews conservation revisions and reflects on the changing appearance of sculptures made in different Straub workshops. Historical handling of original versions of the polychrome wood sculptures and their changes throughout the centuries, including removal of original gilding and paint layers and applying completely new versions, is discussed. The author also shows and compares original production marks on sculpture bases, presents analysis of original grounding material, and considers decay of the original appearance.
Discusses on several examples different views concerning how far cleaning should go.
Gives informations on conservation of overpainted, restored gothic relief depicting "Anna Selbdritt". Informs about glueing the two parts of the relief, consolidation, cleaning of the coating of animal glue on the surface. Discusses several possibilities of different retouching methods.
In order to examine oil paint surfaces treated with aqueous systems, 3-D measuring technology was adapted from applications in microelectronics and dermatology. Though not yet widely used by restorers, this method produces the best results in evaluating surface cleaning. It provides objective measurements of untreated and treated surfaces before, during, and after the cleaning process. Examinations with 3-D measuring technology based on micromirrors provide quantitative results. Examinations were carried out in order to assess the potential use of the technology for conservators and to document the huge differences in effect on historic oil paints of saliva, tap water, and demineralized water. Different waters react differently on those surfaces. If wet cleaning procedures are unavoidable, it is necessary to choose a water that is not as aggressive as demineralized water. Contact times between paint and cleaning solution should be minimized, and soft microporous sponges (e.g., Blitz-Fix) should be used rather than cotton swabs. In contrast to the use of water for cleaning the surfaces of acrylic paintings, there are more possibilities for modifying aqueous cleaning methods for oil paints.
Der Beitrag behandelt bestrafte, entweihte und geschändete Kunstwerke. Über Jahrtausende hinweg hat der Mensch Kulturgüter misshandelt, politische wie kulturelle, religiöse wie auch modische Überzeugungen bzw. ideologischer Wandel richteten Zerstörungen an. Anhand vieler Beispiele werden diese wenig rühmlichen Taten aufgezeigt.
Focuses on the painting material, working process, and painting technique of Austria's most famous animal artist, Norbertine von Bresslern-Roth (1891-1978). Her artwork shows great consistency of techniques between 1925 and 1978. Preparing her own jute supports and ground preparation, she developed no new painting techniques after about 1925. The article gives information about her opinion on how a painting should appear and that it should not be varnished.
Includes:
Eipper, P.-B.: Bemerkungen zu Malmaterial, Malprozess und Maltechnik der Ölgemälde von Norbertine Bresslern-Roth. In: Norbertine Bresslern-Roth Tiermalerin. Ausstellungskatalog, Neue Galerie Graz, Universalmuseum Joanneum (Steinle, C., Hg.), Leykam Graz 2016, S. 234–243
Eipper, P.-B.: Unser „Freund Tier“. Zum Austausch zwischen Paul Eipper und Norbertine Bresslern-Roth. In: Norbertine Bresslern-Roth Tiermalerin. Ausstellungskatalog, Neue Galerie Graz, Universalmuseum Joanneum (Steinle, C., Hg.), Leykam Graz 2016, S. 226–233
depicted here Alice B. Toklas, the partner of Picasso‘s friend Gertrude Stein, in a typical prop suit.
Describes various digital 3D strip projections and confocal measurements on treated and untreated surfaces (paper, chalk ground layer, oil colour).
Focuses on the painting material, working process, and painting technique of Austria's most famous animal artist, Norbertine von Bresslern-Roth (1891-1978). Her artwork shows great consistency of techniques between 1925 and 1978. Preparing her own jute supports and ground preparation, she developed no new painting techniques after about 1925. The article gives information about her opinion on how a painting should appear and that it should not be varnished.
The painting technique of the Austrian artist Maria Lassnig (1919–2014) can be seen as an example for the artistic creation of a generation. Her work process in composing the image, the materials and techniques used, vary and yet have constants that are worth a closer examination - also with regard to other artists and works of art of her time. Especially with regard to conservation measures, a detailed examination of the specific painting techniques the artist employed is necessary
Even today, the relationship between painting and photography is the subject of complex discourses. It is all the more remarkable that in the 1930s the painter and graphic artist Norbertine Bresslern-Roth and the animal filmmaker, author and photographer Paul Eipper, both born in 1891, met in a friendly and supportive manner in order to "break a new lance for our 'friend animal'". The intensity with which they both worked on the same subject - the animal - at the same time suggests that they both, highly respected and popular in their time, may have found each other of their own accord. The study of both biographies confirms this assumption.
It is easily available in our latitudes, which also implies a certain value: Firewood, construction wood, carving wood and veneer wood allow conclusions to be drawn. Specific properties were valued, as specific properties were valued, and fashions (for certain woods) were also found expression in their use. Often the purpose the processing or treatment.
Provides information about the EU-project "Tracing the Art of the Straub Family" (TrArS ), 2018-19. The Straub family of sculptors worked throughout Croatia, Slovenia, Austria, and Bavaria (Germany) during the Baroque period. The article reviews conservation revisions and reflects on the changing appearance of sculptures made in different Straub workshops. Historical handling of original versions of the polychrome wood sculptures and their changes throughout the centuries, including removal of original gilding and paint layers and applying completely new versions, is discussed. The author also shows and compares original production marks on sculpture bases, presents analysis of original grounding material, and considers decay of the original appearance.
Discusses on several examples different views concerning how far cleaning should go.
Gives informations on conservation of overpainted, restored gothic relief depicting "Anna Selbdritt". Informs about glueing the two parts of the relief, consolidation, cleaning of the coating of animal glue on the surface. Discusses several possibilities of different retouching methods.
In order to examine oil paint surfaces treated with aqueous systems, 3-D measuring technology was adapted from applications in microelectronics and dermatology. Though not yet widely used by restorers, this method produces the best results in evaluating surface cleaning. It provides objective measurements of untreated and treated surfaces before, during, and after the cleaning process. Examinations with 3-D measuring technology based on micromirrors provide quantitative results. Examinations were carried out in order to assess the potential use of the technology for conservators and to document the huge differences in effect on historic oil paints of saliva, tap water, and demineralized water. Different waters react differently on those surfaces. If wet cleaning procedures are unavoidable, it is necessary to choose a water that is not as aggressive as demineralized water. Contact times between paint and cleaning solution should be minimized, and soft microporous sponges (e.g., Blitz-Fix) should be used rather than cotton swabs. In contrast to the use of water for cleaning the surfaces of acrylic paintings, there are more possibilities for modifying aqueous cleaning methods for oil paints.
Der Beitrag behandelt bestrafte, entweihte und geschändete Kunstwerke. Über Jahrtausende hinweg hat der Mensch Kulturgüter misshandelt, politische wie kulturelle, religiöse wie auch modische Überzeugungen bzw. ideologischer Wandel richteten Zerstörungen an. Anhand vieler Beispiele werden diese wenig rühmlichen Taten aufgezeigt.
Focuses on the painting material, working process, and painting technique of Austria's most famous animal artist, Norbertine von Bresslern-Roth (1891-1978). Her artwork shows great consistency of techniques between 1925 and 1978. Preparing her own jute supports and ground preparation, she developed no new painting techniques after about 1925. The article gives information about her opinion on how a painting should appear and that it should not be varnished.
Includes:
Eipper, P.-B.: Bemerkungen zu Malmaterial, Malprozess und Maltechnik der Ölgemälde von Norbertine Bresslern-Roth. In: Norbertine Bresslern-Roth Tiermalerin. Ausstellungskatalog, Neue Galerie Graz, Universalmuseum Joanneum (Steinle, C., Hg.), Leykam Graz 2016, S. 234–243
Eipper, P.-B.: Unser „Freund Tier“. Zum Austausch zwischen Paul Eipper und Norbertine Bresslern-Roth. In: Norbertine Bresslern-Roth Tiermalerin. Ausstellungskatalog, Neue Galerie Graz, Universalmuseum Joanneum (Steinle, C., Hg.), Leykam Graz 2016, S. 226–233