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This beautiful painting of a state fair-winning
prize cow was in dire shape. Coated with several
layers of hardened and discolored linseed oil
and with several tears, it was in need of a
comprehensive restoration. Though the linseed oil
was particularly difficult to remove, the end result
yields a great transformation.

mostly getting into trouble and trying to stay out of his hair. What I You once discussed using different paints on a piece. How do you
was unaware of was the fact that I was slowly learning the craft and determine what type of paint to use when doing touch-ups?
trade by watching him. Throughout college I worked for him mostly Every treatment we do that requires the addition of materials is
sweeping floors and organizing the studio and then after graduating I evaluated based on what is best for the painting. Some pieces require
began a formal apprenticeship which generally included getting a lot of different paints for retouching because the artwork cannot sustain
coffee and getting yelled at a lot. But for the next five or six years I exposure to certain solvents or materials and as such, we choose an
worked under him watching, studying, reading, absorbing, and alternative. In addition, some adhesives that require heat may not be
learning everything that he could teach me and supplementing it with suitable for heat-sensitive paintings and as such we will choose a
any source material I could find. cold-set adhesive. Evaluating the best course of action is essential as the
first step in any project and that will become the guide for all the work
When it comes to fine art, how do you know what is worth restoring? we do on that piece.
And with some not-so-fine art?
Well, it’s not really up to me to make that decision about whether What is the oldest piece you have restored? The youngest?
or not a piece is worth restoring. That is a burden that falls on the I think the oldest piece that I have worked on dates back to the early
owners, luckily. That said I do try to offer some contacts for my clients; 1400s or late 1300s and the youngest was still wet from the artist’s stu-
obviously, if they are looking to sell the piece there is a cost-benefit dio. Believe it or not, the 600-year-old painting was exponentially easier
analysis, and putting in money that they cannot realize during the sale to work on than the six-day-old painting.
wouldn’t be wise. It gets a little bit more difficult with heirlooms and
general pieces that are loved because the cost of conservation may not What is the toughest thing to match?
equal the “value” of the piece. Ask any conservator and I would wager the answer would be the
Ultimately though, most people who do inquire about conservation same; flat solid color fields where there is no texture no visual static or
are interested in some level of work and there’s always a solution anything that allows camouflaging the retouching. These colors change
that can be found – even if it’s not a comprehensive conservation based on the light and time of day and the sheen changes based on your
and restoration. viewing angle and all of these things conspire to make that type of
retouching incredibly difficult.
You use several basic tools to physically approach repairs (except for
your amazing, heated table!). It can be hard work. But I enjoy hearing I notice you seem to approach each work as a total project based on
how you pace yourself when you do the work. Do you have a particular your assessment. What do you look for when you assess a painting?
routine you follow? Do you ever work on more than one project on the Ultimately, I try to see if I can affect a positive change on the work
same day? and if that is possible then it’s a candidate for conservation. Between
Over the course of 2+ decades, I have learned and developed a very the needs and wants of the client, the needs and wants of the artist, and
structured routine for how I approach paintings and the work in the the artwork, as well as those of the conservator, there is a sweet spot
studio; it’s necessary to keep a schedule and workflow and to keep where, if all of those sometimes differing goals and objectives can be
everything organized and not lose focus. I will work on many paintings met, we have a successful project.
at the same time and paintings that require a variety of treatments so

I WORK IN SERVICE OF THE ARTWORK; IMAGE, OBJECT, AND

THE ARTIST. – JULIAN BAUMGARTNER

that I have a mix of work throughout the day and week. As an example, In the “About” section of your website, it is said that Baumgartner has
I will only choose a few paintings that need a lot of retouching so that chosen to stay relatively small. How many pieces do you take on over the
I don’t spend the entire week sitting and retouching because it’s quite course of a month or year?
laborious and exhausting. Having a mix of pieces not only keeps my I suppose that is a relative statement because while it is only me and
skills sharp but also keeps me engaged in what I’m doing and ensures my assistant, we still take on approximately 800 pieces a year. Not all
that I don’t become bored or complacent with any steps or projects. of these projects are approved and not all are completed in the same
timeline, but it keeps us quite busy.
What are the differences when working on a large tour de force vs. a
tiny masterpiece? Your YouTube channel is insanely popular, and goodness knows
Nothing really. Every project requires the same amount of focus and people love before/after stories. As of this moment, you have 1.75 million
attention to detail and if it’s a small painting it may take less time than a subscribers. Why do you think your channel has taken off?
large painting but that doesn’t mean that it’s an easier project or one that If I had the answer to this question I would sell it in a bottle! I think
can be dismissed in any way, shape, or form. But, with very big projects it’s a confluence of several factors; people love seeing transformations
either in scale or scope, we approach them as one would anything of that whether it’s a home being renovated or a makeover; it feels good to see
scale; one incremental step at a time and we don’t focus on the finish something go from a dilapidated state to a glorious one. In addition,
line, rather we focus on the immediate task at hand and that allows us watching craft and somebody who is fully engaged in their craft is a very
to move through the project without becoming overwhelmed. seductive and calming process, I feel the same way when I watch This

18 Journal of Antiques and Collectibles