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2018 | Stefanie Hasenauer

„Landscape with castle Statenberg“, a canvas painting by
Franz Ignaz Flurer from the Österreichische Galerie Belvedere in Vienna
Discoloration of the paintlayer. Investigation, conservation and restoration



2018 | Aurelia Berger 

The painting collection in the vestment chamber, Melk abbey
Collection care and development of a conservation concep



2018 | Lilly K. Becker, Julian R.L. Cech 

Maitre Leherb’s material installations
Conservation of two modern sculptures belonging to the Österreichische Galerie Belvedere
focussing on the cleaning of taxidermy bird specimen and the treatment of deformed papier-mâché objects



2018 | Viktoria Ackerl

“Die Weide am Fluss” by Alfred Cuyp
Conservation and Restoration of a Dutch Panel Painting with Water Damage from the Österreichische Galerie Belvedere in Vienna



2017 | Ana Stefaner

Hans Pühringer, Portrait of Helmut Hofmann (1940)
Conservation of a canvas painting with severe water damage



2017 | Elisabeth Reith

The Painting „Der Kriegsruf und der Tod als Echo“ (1934) from Ludwig Gruber,
Österreichische Galerie Belvedere
Resin soaked tear areas and the resulting damages on the textile support and the matte paint layer



2016/17 | Stella Lattanzi

The polyptych of Saint Vincent Ferrer by Angelo and Bartolomeo Degli Erri
Technical examination and conservation of one altar panel as well as art historical investigation of the series



2016 | Katharina Pöll

The paintings of the installation “NOT EVERYONE WILL BE TAKEN INTO THE FUTURE”
by Ilya and Emilia Kabakov, MAK
Acrylic paintings and their cleaning problems



2015/16 | Réka Sárffy

Conservation of a Malangan dance mask from New Ireland, Weltmuseum Wien
With special emphasis on cleaning and stabilizing measures



2015/16 | Glynis Gale-Schodterer

Focus on tear mending
Theory and practice of tear treatment with the example of an accordingly damaged, baroque
painting from the collection of the Neukloster monastery, Wiener Neustadt.



2015 | Jin Yi Lee

A baroque collage on painted alabaster from the Neukloster monastery, Wiener Neustadt
Analysis, conservation and restoration with special consideration of reconstruction possibilities



2014 | Marlies Allmaier

Baroque children´s portraits from the painting collection of the St. Elisabeth (Elisabethinen) in Klagenfurt
Minimally invasive restoration



2014 | Hannah Pichler

The canons of Klosterneuburg monastery



2014 | Christiane Offner

The collection of paintings in the cistercian monastery of Zwettl
Inventory, collection analysis and development of a collection care concept,
as well as its exemplary realisation



2013/14 | Sheyda Nikjou

The “Pretschlaipfer Triptych” of the Österreichische Galerie Belvedere
Examination and conservation of the weekday sides



2013/14 | Dorina Tschinkel

A late gothic “Christ at the mount of olives” – Ensemble from Klosterneuburg monastery
Investigation, development of a treatment plan and exemplary conservation of a wooden
polychrome sculpture with conservation history



2013 | Caroline Ocks

Two Thangkas from Tibet, 19th century Scientific material investigations and conservation.



2013 | Agathe Boruszczak

The stabilisation of a painting of the Kunsthistorisches Museum in Vienna
exemplified by a massive infestation by biscuit beetles



2012 | Simone Wernitznig

The „Fahne der Schwazer Knappen” (1500) from the Tyrolian Landesmuseum –
Innsbruck Armory, a fragment of a banner painted on both sides. Damages relating to previous conservation treatments



2012 | Valerie Thausing

Resin impregnated and lined paintings – The handling of old interventions on the Biedermeier painting (1835)
from Johann Nepomuk Ender from the collection of the Wien Museum



2012 | Franziska Stoldt

Filling materials for large-scale losses in paint layers of wooden panel paintings
Conservation and Restoration of an altar wing (1515) from the Universalmuseum Joanneum Graz



2011 | Magdalena Brela

Two wings of a late gothic altar piece from the Universalmuseum Joanneum
Examination, conservation and restoration with special emphasis on the treatment of
tenting paint on wooden panels



2011 | Julia Hüttmann

A religious reverse glass painting (17th century) from the Esterházy collection
Conservation, restoration and an attempt at an iconographic interpretation



2011 | Gunn Pöllnitz

Paintings on rigid iron supports
Conservation of four folk-art paintings on iron supports from the Parish church at Ladis,
Tyrol and research on paint damage caused by iron corrosion



2010 | Andrea Kappes

Optical examinations of surface changes caused by varnish reduction
Conservation of two oil paintings from the 17th and 18th century of the Kunsthistorisches Museum Vienna



2010 | Edgar Skomorowski

“Caturbhuja-Mahakala” und “Gu-ru drag-dmar”. Conservation and technical
study of two Thangkas from Nako, Himachal Pradesh, India as well as on-site preservation



2009 | Flaminia Rukavina

From the St. Jerome to the Belisarius.
Conservation of a baroque painting on canvas of Gian Domenico Cerrini
from the Kunsthistorisches Museum Wien. History of conservation, provenance and attribution


2009 | Judith Kern

The “Apostelaltärchen” around 1490 from the Landesmuseum Joanneum, Graz.
Examination, conservation, restoration and art-historical attribution of a late Gothic altarpiece


2009 | Stefanie Gössler 

Corinthian Lenten Veils: The Lenten Veil of St. Martin in Kraßnitz dating from 1663, parish of Straßburg.
Scientific examination, conservation and storage


2007 | Barbara Hirner

Two extremely fragmented, double-sided panel paintings, dated 1460/70,
from the Upper Austrian Landesmuseum. Re-restoration, Conservation, Reattachment of the panels.
Considerations on the treatment of lacunae.


2007 | Isabella Fasching

Treatment of climate-related damage. The restoration of the painting “Sintflut” (18th century)
by Simon Benedikt Faistenberger from the Tyrolean State Museum Ferdinandeum.
The phenomenon of varnish-blanching and its treatment.


2006 | Anna Bernkopf

The paste- glue lining with using an iron: Characteristic – Problematical nature.
The Re-Restoration of the Painting -Flemish Landscape with a Robbery from
the Collection of the Alte Galerie at the Landesmuseum Joanneum.


2006 | Hans Frauendorfer

The Treatment of Cracks and Lacunae on Cotton Painting Supports as Exemplified on the painting Untitled by Adolf Frohner.


2006 | Ulrike Fuchsberger

Scene from the Thirty Years≠ War≥ by Sebastian Vrancx (1573-1647)
from Kremsmünster Abbey: Examination and Conservation of a Wooden Panel Painting,
Construction of a Glueing Apparatus and Supporting Frame.


2006 | Jae Seo Park

The Ascension of Christi by Elias Greither the elder (1569/70-1646)
from Kremsmünster Abbey: Re-Restoration and Conservation of a Wooden Panel Painting, Methods of Rejoining.


2006 | Katharina Kohler 

The Painted Wooden Ceilings in the Buddhist Tempelkomplex in Nako, Himachal Pradesh, India.
Research of Painting Technology and Conservation.


2005 | Claudia Eger

The traditional “Wiener Retusche” (“Viennese style of retouching”) seen in the example of a Baroque painting
“Blumenstillleben mit Kaninchen” (“Still-life with flowers and a rabbit”) by Franz Werner von Tamm.


2005 | Petra Goebel

Alfred Roller’s painting “Hirsch an der Quelle” (1901) – the draft of a mosaic for the parish church of Breitensee


2005 | Veronika Loiskandl


2004 | Natalia Gustavson

From Ruins to Castles: Documentation and Collections Analysis as Practiced at the Paintings Collection
at Greillenstein Castle, Lower Austria. The Topographical Views: Development of a catalogue of treatment
and sample restoration of the badly-damaged paintings at Grienau.


2004 | Elisabeth Fischer

Helene Funke – Conservation and Restoration of the 1907 painting “In the Loge” in the collection of the Lentos Museum of Art, Linz. Examination of Helene Funke’s painting technique. Additional theme: Helene Funke’s painting technique.


2003 | Christiana Rieder

The targets of the collection of the Mühlviertler Schlossmuseums
in Freistadt Scientific examination – Conservation – Restoration


2002 | Michael Loacker

Female nude from Fritz Krcal, 1937 Material mixture on canvas


2002 | Karin Juliane Maierhofer

Florentine Cradleí – Removement from the back of a double sided painting Tempera-Mixture on wood


2002 | Roberta Renz

Reverse glass paintings from the Collection of the Castle Museum in Freistadt


2002 | Ina Slama

Marouflage – Stift Herzogenburg in Niederösterreich


2001 | Eva Maria Müller-Artelt

Adolf Frohner – Without title, about 1959 Polyvinyl acetate dispersion with pigments on paper Additional:
Examinations on the painting and production techniques of Adolf Frohner by selected objects.


2001 | Susanne Pink

Three painted Ngadha-Wallplanks from Indonesia Earth pigments on hardwood


2001 | Andrea Schrenk

Supraporte-Painting from the Classicism Grisaille technique with oil gilded background


2000 | Christina Hierl

Sun by Michael Buthe, 1971 Material composition of beeswax, paper, goldbronze on cotton Additional:
The Development of an adhesive system for wax


/// GRADUATES 2001-1983

1999 | Eva Jörg

1999 | Renate Kozik

1998 | Sibyl Aichelburg

1998 | Christa Scheiblauer

1997 | Eva Hottenroth

1997 | Martina Ruttin

1997 | Johannes Weiss

1997 | Sabine Wuntschek

1997 | Michael Odlozil

1996 | Gerda Breinesberger

1996 | Johanna Diehl

1996 | Marcus Langeder

1996 | Theresa Slancar

1995 | Irene Glanzer

1995 | Maria Pachovsky

1994 | Sabine Ribisch

1993 | Inken Hussmann

1993 | Helga Musner

1992 | Peter Hanzer

1992 | Georg Dietrich

1992 | Andrea Eliskasaes

1991 | Bettina Fischer

1991 | Ruth Klebel

1991 | Chie Manabe

1990 | Doris Fend

1990 | Dorothea Kaan

1990 | Pamela Thomasson

1989 | Martina Spiegl

1989 | Gerhard Walde

1988 | Markus Orsini-Rosenberg

1988 | Claudia Podgorschek

1987 | Caroline Sickinger

1987 | Monika Strolz

1986 | Elke Oberthaler

1986 | Peter Tscherne-Kalsner

1986 | Regina Urbanek

1985 | Karin Arlt-Brandstetter

1985 | Thomas Schaupper

1983 | Heinrich Salzmann


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