Chief Conservator

  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

  Rijksmuseum, Amsterdam

  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

Interview, Lunder Conservation Center - Smithsonian American Art 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)

Oberlin College

  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

Museum, 1992.

"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