Paper Conservation Fellows
Current
Olivia Dill
Olivia Dill is a Diamondstein-Spielvogel fellow working collaboratively between the Drawings and Prints, Scientific Research, and Paper Conservation Departments to conduct technical studies of natural history prints and drawings. Her dissertation characterizes the aesthetics and materials used by seventeenth-century Northern European artists in the representation of insect iridescence.
Leslie Zacharie
Leslie Zacharie holds a master's degree in paper and parchment conservation from the Institut National du Patrimoine in Paris, France. Prior to that, she completed a bachelor's degree in art history. Leslie has gained valuable experience through internships at institutions such as the Center Pompidou in Paris, the Bonnat-Helleu Museum in Bayonne, France, and the Harvard Art Museums in Cambridge, USA. For her master's thesis, Leslie focused on the treatment of an early 20th-century opaque watercolor on paper. Her research primarily centered around the aqueous cleaning of a water-sensible painting with the use of gels. In addition, Leslie is passionate about the study of papers and artistic techniques specific to South Asia and Southeast Asia.
Cornelia Busslehner
Cornelia Busslehner is a paper conservator who graduated from the Academy of Fine Arts in Vienna, Austria, in October 2022. In her diploma thesis, she studied the effects of a non-aqueous conservation treatment using Benzotriazole in the vapor phase on paper damaged by copper corrosion with Raman, FTIR, and XRF spectroscopy. She has worked as a scientific assistant, analyzing historical pigments, and completed a Fellowship at the Library of Congress in the paper conservation department. At The Metropolitan Museum of Art, she studies the copper green pigments in Indian and Persian art affected by copper corrosion.
Past
Rachel Mochon
Rachel Mochon was the Andrew W. Mellon Foundation Conservation Fellow from 2020–2021. Their project was titled "Use of Nanocellulose for the Conservation of Works of Art on Paper".
Emily M. K. Müller
Emily M. K. Müller was the Andrew W. Mellon Foundation Conservation Fellow from 2019–2020. Their project was titled "Filling the Gap: Studying Indian Oleographs and Digital Treatment Methods for Creating Paper Fills".
Emily M. K. Müller
Emily M. K. Müller was the Andrew W. Mellon Foundation Conservation Fellow from 2017–2018. Their project was titled "Printed in India: A Technical Study of Hindu Chromolithographs in The Met Collection".
Shannon Mulshine
Shannon Mulshine was the Andrew W. Mellon Foundation Conservation Fellow from 2017–2018. Their project was titled "Natural Red Chalk Drawings and Counterproof Differentiation: Establishing Identifying Criteria and Understanding Morphological Changes".
Amy Hughes
Amy Hughes was the Andrew W. Mellon Foundation Conservation Fellow from 2015–2016. Their project was titled "Targeted Cleaning of Works on Paper: Conductivity in Aqueous Solution".
Johanna Zeigler
Johanna Zeigler was the Andrew W. Mellon Foundation Conservation Fellow from 2015–2016. Their project was titled "Toward Refining Aqueous Treatment in Practice: Conductivity and Its Effects on Paper".
Amy Hughes
Amy Hughes was the Andrew W. Mellon Foundation Conservation Fellow from 2014–2015. Their project was titled "Toward Refining Aqueous Treatment in Practice: Conductivity and Its Effects on Paper".
Lisa Conte
Lisa Conte was the Andrew W. Mellon Foundation Conservation Fellow from 2012–2013. Their project was titled "From Artists’ Invention to Print Production: Reflections on the Creation of André Marty’s L’Estampe Originale".
Lisa Conte
Lisa Conte was the Andrew W. Mellon Foundation Conservation Fellow from 2011–2012. Their project was titled "Odilon Redon’s Lithographic Works: Methods and Materials".
Angela Campbell
Angela Campbell was the Jane and Morgan Whitney Fellow from 2010–2011. Their project was titled "Wearing Dürer Down: An Examination of Copper Plate Deterioration Evidenced in Albrecht Dürer’s Meisterstiche Impressions".
Angela Campbell
Angela Campbell was the Jane and Morgan Whitney Fellow from 2009–2010. Their project was titled "A Fine Line: Microscopic Plate wear in Albrecht Dürer’s Meisterstiche Impressions".
Marina Ruiz Molina
Marina Ruiz-Molina was the Annette de la Renta Fellow from 2009–2010. Their project was titled "Materials and Techniques of the Abstract Expressionist Collage".
Ruiz Molina, M., Olson, C. Drawing, Photography, and the Design of Tiffany Studios’ Te Deum Laudamus Mosaic Triptych. Metropolitan Museum Journal 51, 2017.
Ruiz Molina, M. et al. What Lies Beneath a Tiffany Drawing? Retrieved from https://www.metmuseum.org/blogs/now-at-the-met/2017/secrets-of-louis-comfort-tiffany-process
Ruiz Molina, M. The Conservation of Tiffany Studio Drawings: Finding New Ways to Reconstruct Complex Paper Loss. The Book and Paper Group. Volume Thirty Three, 2014.
Rebecca Capua
Rebecca Capua was the Andrew W. Mellon Foundation Conservation Fellow from 2008–2009. Their project was titled "Material Japonisme in American Art, 1876–1925".
“Japonisme and Japanese works on paper: Cross-cultural influences and hybrid materials,” Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 (London, The Institute of Conservation: 2017), 28–42.
“The obscure history of a ubiquitous pigment: Phosphorescent lithopone and its appearance on drawings by John La Farge.” Journal of the American Institute for Conservation, Volume 53 Issue 2 (May, 2014), 75–88.
“Facsimiles, Artworks, and Real Things.” Metropolitan Museum Journal, v. 56 (2021) 98-112.
Rebecca Capua
Rebecca Capua was the Andrew W. Mellon Foundation Conservation Fellow from 2007–2008. Their project was titled "A Technical Examination of Works on Paper by John La Farge".
“Japonisme and Japanese works on paper: Cross-cultural influences and hybrid materials,” Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 (London, The Institute of Conservation: 2017), 28–42.
“The obscure history of a ubiquitous pigment: Phosphorescent lithopone and its appearance on drawings by John La Farge.” Journal of the American Institute for Conservation, Volume 53 Issue 2 (May, 2014), 75–88.
“Facsimiles, Artworks, and Real Things.” Metropolitan Museum Journal, v. 56 (2021) 98-112.
Clara de la Peña McTigue
Clara de la Peña McTigue was the Andrew W. Mellon Foundation Conservation Fellow from 2006–2007. Their project was titled "Incompatibilities Between Support and Media in the Conservation of Modern Works of Art on Paper".
Jeffrey Warda
Jeffrey Warda was the Andrew W. Mellon Foundation Conservation Fellow from 2006–2007. Their project was titled "A Review and Application of Chlorine Dioxide Bleaching in Paper Conservation".
Denise Stockman
Denise Stockman was the Andrew W. Mellon Foundation Conservation Fellow from 2004–2006. Their project was titled "An Exploration of Treatment Possibilities for Oil Stains on Paper".
Richard Mulholland
Richard Mulholland was the Andrew W. Mellon Foundation Conservation Fellow from 2004–2005. Their project was titled "Looking at David Smith’s Drawing Media and Working Technique".
Stephanie Lussier
Stephanie Lussier was the Andrew W. Mellon Foundation Conservation Fellow from 2003–2004. Their project was titled "Lead White Darkening: Examining an Aesthetic Issue in Paper Conservation".
Marcelo Guzman
Marcelo Guzman was the Andrew W. Mellon Fellow from 2002–2003. Their project was titled "The Development of Non-Destructive Protocols for the Examination of Works of Art on Paper using Raman Spectroscopy and Other Non-Destructive Analytical Techniques".