Two professional art restorers are breathing new life into centuries-old ceiling frescoes at the Chapel of Mary's Offering in Osterhofen, a district of Bad Waldsee, using specialized pigments that can cost thousands of euros per kilogram. Angelika Greis, an experienced independent restorer, and Ronja Löbowitz, who is completing her master's degree in mural painting at the Academy of Fine Arts in Stuttgart, are working meticulously to restore the deteriorated ceiling paintings created by artist Eustachius Gabriel.
The restoration work is part of a comprehensive renovation project at the chapel that has been underway for several months after lengthy delays in getting the project started. The renovation includes extensive roof repairs and new roofing, partial reconstruction of the chapel's interior walls, altar restoration, and the thorough restoration of the ceiling frescoes. Both restorers emphasize that they are not artists themselves, but rather skilled craftspeople dedicated to honoring and preserving the original artistic work from centuries past.
The restoration process begins with applying a light primer to the ceiling surface. In areas where cracks have developed through the paintings over time, the restorers must first fill these gaps with putty. Moisture damage inside the ceiling also requires treatment with sealing compounds before any artistic work can begin. The restorers then employ a specialized technique called "Strichretusche" (line retouching), which involves applying individual fine lines to recreate missing or faded details.
A crucial requirement for all restoration work, similar to the altar restoration being conducted simultaneously, is that only reversible paints and materials can be used. This means that all restoration work can theoretically be undone in the future if necessary, preserving the integrity of the original artwork for future generations.
The two women work as a team, with each focusing on different sections of the ornate ceiling. The frescoes were painted in the Rococo style, featuring shell-shaped and asymmetrical patterns that flow along the ceiling and down the walls where they meet. Despite working on Rococo-era art, Greis explains that restorers are not typically specialized in one particular historical period. Instead, their expertise lies in mastering the various techniques required for restoration work across different eras.
Löbowitz periodically lies on her back on the floor and looks up at the ceiling - not for relaxation, but to maintain perspective on the overall work. When working just centimeters away from the paintings, it's easy to lose sight of how the finished product will look to visitors who will view the frescoes from a distance. Sometimes the restorers even remove wooden beams from the intermediate ceiling and go downstairs to examine their progress from the furthest possible vantage point.
Löbowitz, who is currently pursuing her master's degree in mural painting, explains her fascination with the field: "The topic of history in the form of wall painting fascinated me, and what could be done to preserve it." She also finds it intriguing how religion was depicted visually in earlier centuries. However, she notes that personal religious belief is not necessary for this type of work, even though restorers constantly look at angels, saints, and biblical scenes. "We have many atheists in our program," she observes.
Each restorer maintains her own set of pigment colors, comparable to a chef's knife collection or a hairdresser's scissor case. Their glasses filled with brushes are essential tools of the trade. According to Löbowitz, basic colors don't require expensive materials - blue and red tones, vermillion red, and cooler colors for so-called "incarnat" colors used for depicting bare skin. These flesh tones are frequently created by mixing red with white, but ochre and brown tones are also incorporated.
However, some pigments command extraordinary prices. Genuine lapis lazuli costs approximately 26,000 euros per kilogram, making it one of the most expensive materials in restoration work. Pure gold powder is equally valuable. For this reason, restoration work frequently employs gold substitute materials, such as shell gold, which provides a similar visual effect at a fraction of the cost.
The ceiling fresco depicts the Resurrection of Jesus, and Greis and Löbowitz continue their painstaking work, applying brushstroke after brushstroke to restore fresh life to the angels and saints. Through their careful restoration efforts, they are allowing these religious figures to experience their own resurrection, bringing centuries-old art back to its original glory for future generations to appreciate and study.
