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 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.
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.
