Clare Richardson is a paintings conservator engaged in the study of materials and techniques of paintings in the Renaissance and Early Modern periods, and research into paintings conservation practice. Clare is currently engaged in research into more sustainable practices in conservation as part of the GoGreen project. Her recent research has investigated historic lining methods at The Âé¶¹ÊÓÆµ 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.
Clare was senior paintings conservator at the Victoria and Albert Museum fromÂ 2010-2015,Â conserving RubensÂ Coup de Lance modelloÂ and Constableâ€™sÂ Âé¶¹ÊÓÆµ for the Leaping Horse. Working with Nicola Costaras, Head paintings conservator, she studied and conserved Botticelliâ€™sÂ 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 fromÂ 2015-2017,Â where she worked on preparing objects for the re-display of the Queensâ€™ House and 4 new galleries in the Maritime Museum, as well as technical research supporting the conservation of theÂ 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 Âé¶¹ÊÓÆµ Institute of Art. She has also held a Paul Mellon fellowship and Caroline Villers Fellowship at the Âé¶¹ÊÓÆµ, and undertook work for the Âé¶¹ÊÓÆµ Institute Galleries. In collaboration with Kate Stonor, Clare received conservation awards from Woodmansterne and Bank of America Merrill Lynch for the restoration ofÂ Moses and the Brazen serpentÌý²¹²Ô»åÌýCain Slaying AbelÂ by Rubens in the Âé¶¹ÊÓÆµ collection.