Richter is studying in the master's program in heritage protection and conservation at the Estonian Academy of Arts and is currently writing her thesis. Her research focuses on the materials used in Soviet‑era oil paintings — specifically the peculiarities of material use at the time and how artists obtained what they needed.

Richter said artists working during the Soviet period mainly got their materials from the Artists' Union shop. Quantities were limited, and artists were often allocated a fixed amount of specific paints. "Many came up with quite interesting solutions because of the lack of materials," she said.

She has not heard of artists making their own pigments when supplies ran out. "But certainly someone may have gone that far," she added.

Dentist tools in the conservator's toolbox

Richter's work at Kumu centers on preparing paintings for exhibitions. Many works have already been conserved, but some were restored decades ago and need to be reassessed before being shown again.

"Unfortunately, time does its work, so they need a bit of touching up again for the exhibition," she said.

Richter compares painting conservation to treating a patient. First, the conservator must determine the artwork's history and current problems, then choose the appropriate methods to address them.

Kumu's painting department has four staff members. The museum also has departments for paper, sculpture and frames. Workload varies throughout the year — autumn and spring are busier because more exhibitions are prepared then.

Before an exhibition, conservators assess which works need preparation and whether there is enough time to restore them all. The job also involves working closely with curators, storage staff and other museum employees.

Removing old varnish not always a necessity

A conservator's toolbox includes chemicals, primers and paints. "One of the most interesting things conservators use are actually dentist tools — something you wouldn't expect, but they're great for picking and doing fine detail work," she said.

Every intervention must be carefully considered. For example, removing old varnish is a decision conservators discuss thoroughly.

"Varnish is generally part of the painting. Since varnish yellows over time and undergoes various changes, you have to look very carefully at whether it should be removed at all," Richter explained.

If the materials of a work are not well known, tests are done before starting. Samples may be examined under a microscope or sent to a lab if needed.

Unexpected situations can arise during conservation. "These are usually accidental and human. They don't happen often, but the team tries to find solutions. And since we're conservators, we have to fix them ourselves," she said.

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