Dallas Museum of Art
2012 - 2017
Conservator of Paintings & Head of Department
The J. Paul Getty Museum
1983 - 2010
Intern / Assistant Conservator of Paintings
The Metropolitan Museum of Art
1978 - 1983
Restoration of paintings from the following collections:
The Carnegie Museum of Art, Pittsburgh
The Dulwich Picture Gallery, Dulwich
The Frick Collection, New York
The Isabella Stewart Gardner Museum, Boston
The Huntington Art Collections, San Marino
The Hispanic Society of America, New York
The Joslyn Art Museum, Omaha, Nebraska
Konstmuseum, Göteborg, Sweden
The Kröller-Müller Museum, Otterlo
Museu de Arte de São Paolo, São Paolo, Brazil
The Minneapolis Institute of Art, Minneapolis
Museum of Fine Arts, Budapest, Hungary
The Norton Simon Museum, Pasadena
The Portland Art Museum, Portland, Oregon
Staatliche Museen Preußischer Kulturbesitz, Berlin
Staatliches Museum, Schwerin, Germany
The Wallace Collection, London
The Yale Center for British Art, New Haven
The Yale University Art Gallery, New Haven
The Painter’s Voice: the Restoration of Two Master Paintings. A documentary directed and photographed by William Friedkin - The J. Paul Getty Museum, 2008
The Restoration of Francisco de Zurbarán’s “Still Life with Lemons, Oranges and a Rose” - Norton Simon Museum, 2009
Beneath the Painted Surface: Fragonard’s Fountain of Love - The J. Paul Getty Museum
Conservation of Jean-Baptiste Oudry’s Rhinoceros Painting - The J. Paul Getty Museum
Lecture, Constable’s Cloud Studies, Yale Center for British Art
Institute of Fine Arts, New York University
Master of Arts (Art History)
Diploma (Art Conservation)
Bachelor of Arts (multi-disciplinary studies
in Studio Art, Art History and Chemistry)
“Albrect Altdorfer’s Crucifxion (Budapest, Szépművészeti Múzeum),” co-authored with Anne Woollett and Carol Namowicx, Studying Old Master Paintings - Technology and Practice, National Gallery, London, 2011, pp. 95-103.
“Jean-Honoré Fragonard’s Two Versions of The Fountain of Love: A Comparative Study,” co-authored with Scott Schaefer and Ashok Roy, National Gallery Technical Bulletin, London, 2008, pp. 31-45.
“Notes on the Restoration of Jean-Baptiste Oudry’s Rhinoceros and Lion,” in Oudry’s Painted Menagerie: Portraits of Exotic Animals in Eighteenth Century Europe, The. J. Paul Getty Trust, 2007, pp. 104 - 117.
"Breughel and Rubens at Work: Technique and the Practice of Collaboration," co-authored with Tiarna Doherty and Jørgen Wadum, in Rubens and Brueghel: A Working Friendship, The J. Paul Getty Trust, 2006, pp. 215-251.
"A Note on the Study and Treatment of Nicolas Lancret's Dance before a Fountain," in Nicolas Lancret's Dance before a Fountain, Mary Tavener Holmes, The J. Paul Getty Trust, 2006, pp. 95-109.
Readings in Conservation: Issues in the Conservation of Paintings, co-authored and co-edited with David Bomford, The Getty Conservation Institute, 2004.
"Jean-Baptiste Greuze, The Wool Winder," in The Frick Collection Members' Magazine, Fall, 2003, p. 7.
"The Restoration of a Predella Panel by Luca di Tommé," in Early Italian Paintings: Approaches to Conservation, The Yale University Art Gallery, 2003, pp. 225-232.
“The Artist’s Voice,” in Personal Viewpoints: Thoughts about Paintings Conservation, volume edited by Mark Leonard, The Getty Conservation Institute, 2003, pp. 41-58.
“Amber varnish and Orazio Gentileschi’s Lot and his Daughters,” co-authored with Narayan Khandekar and Dawson Carr, The Burlington Magazine, January, 2001, pp. 4-10.
“The development of a new material for retouching,” co-authored with Robert Gamblin, René de la Rie, and Jill Whitten, in Tradition and Innovation: Advances in Conservation, The International Institute for Conservation (Melbourne Conference), October, 2000, pp. 111-113.
“A Sublime and Masterly Performance: the Making of Sir Joshua Reynolds’s Sarah Siddons as the Tragic Muse,” in A Passion for Performance: Sarah Siddons and her Portraitists, co-authored with Shelley Bennett, The J. Paul Getty Museum, 1999, pp. 97-140.
"Method and Modernity: Technical Analysis, Restoration and Re-Interpretation of Christ's Entry into Brussels in 1889 by James Ensor," co-authored with Louise Lippincott, Art Journal, June, 1995, pp. 18-27.
“Benjamin West: The Restoration of Lear and Cordelia,” American Art Review, vol.5, no. 6, Winter 1994, pp. 148-153.
Looking at Paintings: A Guide to Technical Terms, co-authored with Dawson Carr, The J. Paul Getty
"The Getty Bouts Defended," The Burlington Magazine, vol. 132, December, 1990, p. 877.
"Some observations on the use and appearance of two new synthetic resins for picture varnishes," Cleaning, Retouching and Coatings, The International Institute for Conservation (Brussels Congress), 1990, pp. 174-176.
"Dieric Bouts, The Annunciation: Materials and Techniques," The Burlington Magazine, vol. 130, no. 1024, July, 1988, pp. 517-523.
"Notes on the Restoration of Jean-Étienne Liotard's Tea Set," The J. Paul Getty Museum Journal, vol. 13, 1985, pp. 131-132.
Copyright ⓒ Mark W. Leonard 2010-2018