Hello, I’m Maureen Cross.
I am a paintings conservator with nearly 30 years of professional experience, having worked in museums and galleries as well as several private conservation studios before taking up my current post as a full-time Senior Lecturer in the Department of Conservation at The Courtauld Institute of Art.
I completed my first BA (Hons) at Michigan State University in Sociology and Economics, followed by a second BA (Hons) in History of Art at Hunter College, City University of New York, where I also achieved a minor in Chemistry.
I began my career in the curatorial department at the Brooklyn Museum of Art before changing direction and undertaking a series of conservation fellowships. These include an Andrew W. Mellon Foundation Fellowship at the Metropolitan Museum of Art, where I worked on the Antonio Ratti Textile Center Storage Project, an internship at the Cooper Hewitt, Smithsonian Design Museum as a Textile Conservation assistant, and work in private conservation studios in New York City.
I moved to the UK to specialise in easel paintings conservation, completing my MA with Distinction at the University of Northumbria in 1998. I have since worked as a professional paintings conservator at National Museums Liverpool, Manchester Art Gallery, and Tate, before joining The Courtauld. I was appointed as a full-time Lecturer in 2005. From 2013 to 2016 I served as the Institute's first Associate Dean for Students, was promoted to Senior Lecturer in 2019, and appointed Senior Tutor for Conservation in 2024.
My approach
I treat modern and contemporary paintings on canvas and board, drawing on a long career spanning institutional and private collections and two decades teaching paintings conservation at postgraduate level. My practice combines analysis, close looking, and hands-on conservation work, applying material science and practical experience to solve complex condition issues and ensure long-term stability for display.
My research into artists' techniques and material properties grounds this work in careful technical problem-solving — balancing preservation with respect for an artwork's original character and intent.
I bring rigorous material knowledge, an evolving conservation-restoration methodology, and a strong ethical framework, working closely with artists, collections and colleagues to ensure paintings are understood, respected, and preserved for future generations.
Lasting impact:
I approach my work with clarity, act with integrity, and stay endlessly curious.
Services
Conservation Treatment
Collections Care
Condition Reports
Consultancy
Courier Services
Exhibitions and Display
Research
Technical Art History
Technical Support for Artists