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  Steglitz-Zehlendorf: Gilder workshop on the domain Dahlem – Berlin | Bit Updates
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Steglitz-Zehlendorf: Gilder workshop on the domain Dahlem – Berlin

Thursday, August 24th, 2017 | bitcoin updates

Their profession has not yet died out. But the clock is ticking. All over Europe, there is only one vocational school, in Munich, which offers training; For about 18 fellows a year. Anja Isensee is a gilder and barrel painter. Five years ago, she set up her own workshop on the grounds of the domain Dahlem in addition to the other historic handicraft companies. "If I were to make a leap 500 years back, I could continue working normally," she says. Because the gilder uses only centuries-old craftsmanship techniques. The painter works on a workbench at the same time as a carpentry, painter's workshop, a cosmetic studio or a doctor's office. The difference: in a shelf are glasses with colored sheet metals such as silver, gold, brass, copper, platinum or aluminum. In another shelf, oils, chalk and glues are stored. All this is one of the typical work materials of a gilder and barrel artist. The professional name Fassmalerin comes from "grasp", so paint. In the Middle Ages it was customary to take pictures, carvings or church figures. When Anja Isensee works, she needs particularly fine instruments. For often it comes down to the smallest details. A piece of gold leaf, for example, is a ten-thousandth of a millimeter thin. When she does it, her calm hand, her long experience, fingertip feeling and concentration help her. At work: Anja IsenseePhoto: Anett KirchnerSo gilds them, for example, sacred figures, frames, pieces of furniture, sculptures, stucco, congratulations cards, writings on gravestones or fence elements. For the gold to get a certain force, as it is called in the specialist yargon, so after the polishing really beautiful shines, the quality of the ground is particularly decides. It takes more than 30 work steps until a gilding work is finished. For example, the so-called poliment gilding on stucco or wood, which has already been used in antiquity. This complicated crafting technique is applied very thinly layer by layer. On a layer of glue are several layers of chalk, which are later sealed with alumina. All layers interlock and join. This creates a soft cushion for the gold leaf. This is mainly about ensuring the durability of the work. As materials for the layers, the gilders usually use their own recipes. Some colleagues make great secrets from it. Anja Isensee smirked, "I do not, because I want people to understand the effort and the background in this work."

Actually, she wanted to study art history. She would never have foreseen the fact that she would actually become a gilder and barrel-painter. She was born in Altenburg in Thuringia and grew up in Magdeburg. Early on, she had a desire to make something artistic. After graduating from high school, she wanted to study art history in Leipzig, but initially decided to pursue practical vocational training. She liked to work with her hands; Best to paint. "So I went through the list of artistic painters and landed at the gilder," she says. Three years of apprenticeship followed. Her training company was a restoration workshop in Plauen. For family reasons, she moved to Berlin in 2000. Anja Isensee is married and has two children. She studied art history for several semesters at the Freie Universität (FU) Berlin in Dahlem, but noted that studies and two young children were not easy to reconcile. "It just became too much," she admits, and she worked for several years as a freelance gilder; "This was the time when the idea of ​​a workshop of its own originated," she recalls. After completing her master's education in 2011, she went on the search for suitable rooms. On a family trip to the domain Dahlem she discovered the workshops. "So I applied, and now I'm here," she says, smirking again and acting as if she had arrived. The workshop, which is about 40 square meters in size, is situated between those of the blacksmith Torsten Theel and the potter Regine Lüder. Previously, this room was a stellar building, which still retains historical apparatuses on the ceiling. No classic showrooms. Anja Isensee sees herself as a craftswoman rather than as an artist. To pack in cotton – that does not fit her. On the contrary. Sometimes her job is so not filigree and clean, instead coarse and dirty. Only recently had she been able to gild the hands of a church clock. For this purpose, she stood on the scaffolding together with the roofers. Since then, she had looked quite differently at the church tower when she read the time. And in a certain way, she also often falls into a nostalgia. Who will gild the hands next time? Would it be a gilder who still learned the craft? She doubts. And something else is important to Anja Isensee: their business and also the other workshops of the domain Dahlem are not classic workshops, as is often assumed. It is true that the doors here are usually open, but it is not always possible to approach all the visitors' questions. "When I find the time, I like it, but I also have to make money," she says openly. That is why it sometimes happens that the door to their gilding workshop remains closed. Maybe she is working on a particularly valuable restoration project.


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