| OCCUPATIONAL HISTORY |
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2001 to present: |
Director of Northern Light Studio, devoted to research, practice and teaching in the area of historic painting and sculpture techniques. In 2004, joined by Sarah Belchetz-Swenson as Co-Director of Northern Light Studio. |
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2003 Fall semester: |
Lecturer, Washington University School of Art, teaching a studio survey of the theory and practice of historic European painting techniques 1400- 1675 |
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2002 Summer: |
taught workshops with Karen Bauer for the docents, family programs, and course for adults on 17th century Italian painting techniques for the St. Louis Art Museum in connection with the exhibition “Orazio an Artemisia Gentileschi” |
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2001 Spring semester: |
Adjunct faculty position at Webster University in the Department of Religious Studies teaching an undergraduate course on theology and the visual arts |
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1995-1996: |
part-time position as Director of Spiritual Formation, Church of St. Michael and St. George, St. Louis, MO |
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1994 Fall semester: |
in residence at the American Academy in Rome |
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1982-1993: |
Technical Director and Chief Conservator, Washington University Technology Associates (WUTA, Inc.) St. Louis, MO, specializing in the conservation of sculpture |
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1973-1982: |
Research Associate and Director of the Conservation Laboratory, Center for Archaeometry, Department of Physics, Washington University, St. Louis, MO |
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1962: |
Conservation of paintings, working for Bernard Rabin, Newark, NJ |
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1961: |
Conservation of paintings, working for Jean Volkmer, Museum of Modern Art |
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1961: |
Conservation of paintings, working for Caroline Keck, Brooklyn, NY |
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1961: |
Conservation of rare books, working for Carolyn Horton, New York, NY |
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1959-1960: |
Instructor of Drawing, Memphis Academy of Arts, Memphis, TN |
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1958-1959: |
Conservation Assistant, Isabella Stuart Gardner Museum, Boston, MA |
| EXPERIENCE AND ADDITIONAL STUDIES |
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2002 Summer: |
took part in Study Tour of Belgian 17th century sculpture sponsored by the Low Countries Sculpture Society |
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2001 Summer: |
study and travel in The Netherlands and Belgium, including participation in the workshop, “The Painter’s Palette in the 16th and 17th Centuries”, taught at the Stichting Restauratie Atelier Limburg in Maastricht; and the course, “Recent Developments in the Study of Seventeenth-Century Dutch Art”, taught at Amsterdam and the Hague, both sponsored by Amsterdam-Maastricht Summer University. |
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Fall: |
Study and travel in Rome, The Hague, and London in connection with the opening of the Gentileschi exhibition—Attended symposium in The Hague, “Art History and Technical Examination”; examined a painting by Artemisia Gentileschi in the conservation laboratory at Hampton Court Palace. |
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2000 Summer: |
study and travel in the Netherlands, including participation in the workshop, “The Painter’s Palette in the 16th and 17th Centuries”, Amsterdam Maastricht Summer University, Maastricht. |
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1999-2002: |
worked as consultant/collaborator on a project to explore the painting technique of Johannes Vermeer with artist, Karen Bauer. |
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1996 and 1997: |
two campaigns, with art historian, Virginia Bonito, on the conservation of a marble sculpture of the Madonna and Child with St. Anne by Andrea Sansovino and fresco of Isaiah by Raphael in the church of Sant’Agostino, Rome |
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1993-1997: |
graduate courses in historical theology at St. Louis University and Washington University. |
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1994: |
Summer School courses in theology, moral theology and homiletics, Aquinas Institute, St. Louis, MO. |
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1992: |
Volunteer chaplaincy work at the St. Louis Juvenile Detention Centers |
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1986 Fall: |
Visiting Scholar, American Academy in Rome, while teaching at the Istituto Centrale del Restauro, Rome, Italy. |
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1973-1982: |
Washington University, St. Louis, MO, Department of Physics, Center for Archaeometry: Research Associate and Conservator, Director of the Sculpture Conservation Laboratory. Co-Principal Investigator in a research project funded by the National Endowment for the Arts and local agencies (1975-1979) to study conservation problems of outdoor bronze and stone sculpture. |
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1972-1973: |
study in Rome, Italy, completing a paper on the state-of-the-art of outdoor bronze and stone sculpture conservation. |
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1967-1971: |
research leading towards publication of a 17th century sculptor’s treatise: Orfeo Boselli’s ‘Osservazioni della Scoltura Antica; began investigating problems of outdoor sculpture conservation at Washington University with Peter Gaspar, Professor of Chemistry. |
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1965-1967: |
work in painting conservation at the Istituto Centrale del Restauro, Rome, Italy. Studied under the direction of Paolo and Laura Mora and Giovanni Urbani. Participated in the treatment of three large oil paintings depicting scenes in the life of St. Matthew by Michelangelo Merisi da Caravaggio (17th c) from the church of S. Luigi dei Francesi; work on ancient frescoes from the Aula Isiaca on the Palatine Hill, Rome. |
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1962-1963: |
Fulbright Fellowship for study at the Institut Royal du Patrimoine Artistique, Brussels, Belgium. Studied under the direction of Paul Coremans, Director of IRPA. Focused on technical examination and microscopy of paint samples from the statue of Saint Leonard of Leau. |
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1960-1962: |
apprentice in painting conservation at Museum of Modern Art, NYC; at the Nelson Gallery, Kansas City, MO; with Caroline Keck, Brooklyn, NY; with Bernard Rabin, Newark, NJ; and in the conservation of rare books at the Grolier Club, New York City. |
| AFFILIATIONS |
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Board,The Sheldon Art Galleries |
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Board, Opera Theater of St. Louis |
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Historians of Netherlandish Art |
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Midwest College Art Association |
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College Art Association |
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Officer Sister, Order of the Hospital of St. John of Jerusalem |
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Fellow, Society of St. John the Evangelist, Cambridge, MA |
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Trustee and Board Member, American Friends of the Anglican Centre in Rome |
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Fellow and founding member, the former Center for Archaeometry, Washington Univ. |
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1978-79;
1983-84; |
Fellow, American Institute for Conservation of Historic and Artistic Works (AIC); Chair, Nominating Committee |
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1979-80 |
Coordinator, Objects Group,American Institute for Conservation of Historic and Artistic Works (AIC) |
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1981-83 |
Board Member (Treasurer) American Institute for Conservation of Historic and Artistic Works (AIC) |
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Fellow, International Institute for Conservation of Historic and Artistic Works (IIC) |
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Member, International Council of Museums Conservation Committee (ICOM-CC) |
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1975-1990: |
Service on numerous committees, national advisory panels and working groups related to outdoor sculpture conservation and professional conservation practice. |
| TEACHING |
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2003 |
Fall Semester: taught an undergraduate studio course on Historic European Painting techniques, 14th-17th c., for the Washington University School of Art |
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2002 |
Workshops for docents, family program workshops, and classes for adult painters on 17th century Italian painting techniques for the St. Louis Art Museum in connection with the exhibition, “Orazio and Artemisia Gentileschi” |
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2001 |
Spring semester: undergraduate course in the Department of Religious Studies, Webster University: “Seen and Unseen: Theology and the Visual Arts” |
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1993-1999 |
Classes in theology and the visual arts, science and theology, spirituality, theology, and biblical studies at the Church of St. Michael and St. George, Episcopal, St. Louis, MO. |
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1998 |
Six-lecture series at Ladue Chapel, St. Louis, MO: “Theology and the Visual Arts” |
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1988 |
Four lectures on history of bronze casting and patination, bronze sculpture deterioration and conservation at the Kajima Foundation, Tokyo, Japan, for curators of Japanese museums |
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1986 |
Five-day course (in Italian) on outdoor bronze sculpture conservation at the Istituto Centrale del Restauro, Rome, Italy |
| PUBLICATIONS / LECTURES |
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2005
(forthcoming in October) |
with Sarah Belchetz-Swenson: “Rembrandt and Burnt Plate Oil: New Observations and Proposals on Rembrandt’s Paint” in Approaching the Art of the Past: Sources and Reconstructions produced by Art Technological Sources Research Group (ATSR) (London:Archetype) |
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2005
May: |
Lecture, for International Center for Conservation, Rome (ICCROM)--Conservation Research Group Discussion Day on Cleaning, Rome, Italy, 19 May 2005 |
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2004 December: |
lecture “Patina from the historical-artistic point of view”, for “Workshop BMC 2004” Conservation and Management of outdoor bronze monuments, 2-4 December, Genoa, Italy. |
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2004 October: |
poster presentation, “Rembrandt and Burnt Plate Oil”, with Sarah Belchetz-Swenson for the symposium, Art Technological Source Research, “Approaching the Art of the Past: Sources and Reconstructions”, Amsterdam, ICN, 14-15 October 2004 |
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2000 April: |
four lectures on 17th century Dutch art for the Harvard Alumni Association educational tour: “Waterways of Holland and Belgium, Amsterdam, Bruges”. |
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2000 March 25: |
lecture “Scultura all’aperto in America: racconti di ruggine, crisi di corrosione e rimedi vari per il restauro”, for the conference “Meteo e Metalli: I problemi di conservazione e di restauro delle sculture all’aperto” for the Ferrara Fiere Restauro 2000, organized by the Istituto Beni Culturali della Regione Emilia-Romagna, in Ferrara, Italy. |
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1999 February: |
lecture “A Terra Cotta Female Bust by Gian Lorenzo Bernini” for the symposium “Bernini dai Borghese ai Barberini: La Cultura a Roma intorno agli Anni Venti”, held at the French Academy, Villa Medici, Rome, Italy. |
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1998 April: |
lecture “Saul has Killed his Thousands and David his Ten-Thousands: Boselli and Bernini on the Challenge of Three Dimensions”, for the symposium “Modeled in Mud: Baroque Clay Sculpture, its Progeny and Afterlife”, Harvard University Art Museums, Cambridge, MA. |
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1997 August: |
keynote address for workshop in sculpture conservation sponsored by the National Park Service: “The Problem of Determining the Artist’s Intent in Sculpture Conservation”, Brookgreen Gardens, SC. |
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publications include approximately fifteen articles in professional journals and other publications (symposia) and one book: Orfeo Boselli, ‘Osservazioni dela Scoltura Antica’ (Florence, Italy:SPES) 1978, an edition of a 17th century treatise manuscript composed by a Roman sculptor |
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public lectures since 1974 number more than sixty in this country and abroad, at major museums (Getty, Whitney, Art Institute of Chicago, Houston Museum of Fine Arts), professional conservation meetings (AIC, IIC, ICOM-CC), and for civic organizations (New York City, Boston, MA; Richmond, VA, Philadelphia, PA) |
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1996 |
recent publication: “A Review of the History and Practice of Patination”, in Historical and Philosophical Issues in the Conservation of Cultural Heritage, N.S. Price, et.al., eds., Getty Conservation Institute, Los Angeles, CA. |
