The Courtauld Institute of Art
Tel: +44 (0) 20 7848 2196
Maureen was appointed in 2005 as a full-time lecturer in the Conservation & Technology Department. She has a BA Hons. in Art History from Hunter College: City University of New York. She has worked at the Brooklyn Museum of Art, Metropolitan Museum of Art, and Cooper Hewitt National Design Museum-Smithsonian Institution. She then moved to the UK to study paintings conservation at the University of Northumbria, completing her MA with Distinction in 1998. She has since worked as a professional conservator at Tate, the Manchester Galleries, and the National Museums of Liverpool.
Programmes taught during the forthcoming academic year:
- History of Artists Materials and Techniques
- History and Practice of Written and Photographic Documentation
- Practical Conservation and Restoration of Easel Paintings
- Practical Paintings Techniques for Replicas
- Research Seminar – Considering Contemporary and Modern Art
- Physical History of Works of Art – BA Art History
- Materials and techniques of modern and contemporary artist’s.
- Applied conservation research for treatment solutions.
Pearson, Harriet, Cross, Maureen, Barker, R., 'Protecting Impermanence: a preliminary investigation into the care of temporary artworks’, Immediations 3, (1) (2012)
Horovitz, Isabel, Maureen Cross, Morwenna Blewett, Bronwyn Ormsby, Jørgen Wadum, Inken Holubec, ‘History and Use of Other Ridig Supports for Easel Paintings from Early Rennaissance to 20th Century,’ in The Conservation of Easel Paintings. ed. J. Hill-Stoner and R. Rushfield; Butterworths-Elsevier, London (2012) 51-115
Brummitt, Sophie and Maureen Cross, ‘A Painter of ‘Strong and Good Likenesses’
Studying some Gilbert Stuart portraits from Saltram House’, www.nationaltrust.org.uk/abcbulletin National Trust: Arts Building Collections Bulletin, Autumn Issue (October 2011) 14
Ormsby, Bronwyn, Maureen Cross, Elli Kampasakali, Lise Chantrier-Aasen, Patricia Smithen, ‘An Evaluation of Artists’ and Conservation Varnishes for Acrylic Emulsion Paint Films.’ in ICOM-CC 16th Triennial Conference, Lisbon, Portugal, 19-23 September 2011: Preprints, Mng. ed. Janet Bridgland, International Committee of Museums, Paris (2011) 1-11
Cross, Maureen, Sophie Brummitt, ‘Gilbert Stuart In Britain (1775-1787): A Technical Study of Selected Work from Saltram House, National Trust Property, Devon,’ Journal of the American Institute for Conservation, 51 (2) (Fall/Winter 2011) 87-104
Tate-Harte, Alice, Chantal-Helen Thuer and Maureen Cross, ‘Materials Focus: Funori: A New Medium for Consolidation and Retouching’, The Picture Restorer, 36 (Spring 2010) 13-14
Sims, Shelley, Maureen Cross and Patricia Smithen, ‘Acrylic Retouching’, in Mixing and Matching: Approaches to Retouching Paintings, Archetype Books, London (2010) 163-179
Cross, Maureen, ‘Complexities of a Woman in a Courtyard (1933)’, in Modern Paints Uncovered, Contributions to the Modern Paint Uncovered Symposium, 16-19 May 2006, ed .T. Learner, P. Smithen, J. Krueger and M. Schilling,The Getty Conservation Institute, Los Angeles (2007) 276
Cross, Maureen and Sarah Skinner, ‘Restoring Spontaneity: Conserving Duncan Grant’s ‘Caryatid' from the Collection of Manchester City Galleries’, Cr: Interdisciplinair Vakblad voor Conservering en Restauratie (2004) 18-27
Cross, Maureen and Kathleen Flynn, ‘From Sausage Rolls to Sushi and Back Again: Lessons for successful travelling block-buster loans’, The Paper Conservator, 27 (Autumn 2003) 59-68
Cross, Maureen, et al., ‘From Fireplace to Fine Art – The Conservation of Duncan Grant’s Collage, Caryatid’, in IIC Works of Art on Paper: Books, Documents and Photographs, Techniques and Conservation. Baltimore Congress, Baltimore, Maryland, USA, 2-6 September 2002, ed. V. Daniels, A. Donnithorne and P. Smith, International Institute of Conservation, London (2002) 6
Bennett, Richard, Maureen, Cross and Joseph Padfield, ‘Conference Review, Under Pressure’, University of Northumbria, 7-11 April 1997, The Picture Restorer, 12 (Autumn 1997) 21-24
‘Gilbert Stuart Across the Atlantic.’, Lunder Conservation Center: Conversations with Conservators, Smithsonian American Art Museum, Washington, DC, USA, 23 July 2013
‘An evaluation of artists’ and conservation varnishes for acrylic emulsion paint films.’ ICOM-CC 16th Triennial Conference, Lisbon, Portugal, September 19-23, 2011
“The Conservation Treatment of Woman in a Courtyard by Julian Trevelyan.”, Modern Paints Uncovered Symposium. Tate Modern, London, UK, 16-19 May 2006.
“Frederick Pickersgill’s Samson Betrayed: Maureen Cross talks about the conservation teams’ restoration of this work.” Manchester Art Galleries, Manchester, 24 June 2003.
“From Sausage Rolls to Sushi and Back Again: Lessons for successful travelling block-buster loans.” Part and Parcel of the Job: Planning, Packing and Transporting Loans for Exhibitions, The British Museum, London, 9-10 May 2002.
“A Preliminary Study of the Tensile Properties of a Degraded Natural Linen Canvas with a View Towards Determining a Lining Programme.” The 16th Gerry Hedley Student Symposium, Queens College, Cambridge (Hamilton Kerr Institute), 29 May 1998.