Institute of Art
The Courtauld Institute of Art is a research-led, independent College of the University of London, with one of the world’s most prestigious programmes of art history, curating, and conservation. Training in Conservation is offered at the Postgraduate level with 3-year MA degrees in either the Conservation of Easel Paintings or The Conservation of Wall Paintings.
CRT’s primary contribution to the project will be through WP7. CRT will design four modules on main aspects of the GoGreen project and didactic materials prepared: (1) Leadership in Green conservation, (2) Determining material sensitivities (WP2), (3) Green Decision-Making frameworks for objects (metal, paint, glass/ ceramic and stone) and contexts (treatment, display, storage) (WP2), and (4) Green treatments and their assessment (WP3-5, WP8.3). Course specifications, bibliographies and didactic materials (outlines, presentations and videos) will be produced. Modules will be illustrated with case studies based on different materialspecializations: metals, paint (easel paintings and wall paintings), glass/ceramic and stone. Materials for student/participant assessment will be provided
Austin Nevin is the Head of the Department of Conservation, that unites Easel Painting and Wall Painting Conservation with transdisplinary research on preventive conservation, technical art history, conservation science and conservation practice. Following a degree in Chemistry from the University of Oxford (2001), he obtained an MA in the Conservation of Wall Painting (2004) and a PhD at The Courtauld (2008).
He is also a Vice President and Fellow of the International Institute for the Conservation of Artistic and Historic Works and has chaired the Technical Committees for the Edinburgh (2020), Turin (2018), Los Angeles (2016) and Hong Kong (2014) Congresses. He also served as the Coordinator of the Scientific Research working group of ICOM-CC from 2011-2014, and currently is on the Conseil Scientifique of the La Maison des Sciences de l’Homme et de la Société Sud-Est (France) and the Editor of Studies in Conservation and of the Springer Series Cultural Heritage Science.
Aviva Burnstock is a Professor of Conservation at The Courtauld Institute of Art, where she took a PhD (1991) and a Diploma in the Conservation of Easel Paintings (1984). From 1986-1992 she worked in the Scientific Department of the National Gallery, London after a year as a paintings conservator in Australia with the Regional Galleries Association of New South Wales. Her first degree is in Neurobiology (BSc University of Sussex 1981). She was awarded the first Joop Los Fellowship at the Institute for Molecular Physics (AMOLF /FOM) Amsterdam in 2003, and is a Fellow of the International Institute for Conservation (IIC).
Aviva’s research interests include investigation of the materials and techniques used for painting; and characterisation of visual and material changes; the application of new methods for technical study; evaluating methods for conservation practice (for example methods for cleaning paintings); focus on the deterioration and conservation issues for modern oil paint and paintings.
Clare Richardson is a paintings conservator whose research interests are focused on the materials and techniques of paintings in the Renaissance and Early Modern periods. Clare was senior paintings conservator at the Victoria and Albert Museum from 2010-2015, conserving Rubens Coup de Lance modello and Constable’s Study for the Leaping Horse. Working with Nicola Costaras, Head paintings conservator, she studied and conserved Botticelli’s Portrait of Smeralda Bandinelli, and completed a major study of Constable oil sketches in preparation for a travelling exhibition. At Royal Museums Greenwich, Clare held the role of Senior manager, paintings, paper and frames conservation from 2015-2017, where she worked on preparing objects for the re-display of the Queens’ House and 4 new galleries in the Maritime Museum, as well as technical research supporting the conservation of the Armada portrait of Elizabeth I. Clare is co-founder of a business undertaking infrared examination of paintings in situ for a diverse client base since 2002.
Clare studied her BA in the History of Art (1998) and Diploma in the Conservation of Easel Paintings (2001) at The Courtauld Institute of Art. She has also held a Paul Mellon fellowship and Caroline Villers Fellowship at the Courtauld, and undertook work for the Courtauld Institute Galleries. In collaboration with Kate Stonor, Clare received conservation awards from Woodmansterne and Bank of America Merrill Lynch for the restoration of Moses and the Brazen serpent and Cain Slaying Abel by Rubens in the Courtauld collection.
Clare is currently engaged in research into historic lining methods at The Courtauld and Greenwich and the implications of the longevity of modern linings on collections care planning. Clare is also interested in using infrared examination for the study of works on paper.