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February 8, 2008|Volume 36, Number 17


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Ian McClure



In new role at Yale, art conservator
will exhance campus programs

Ian McClure, an international leader in the field of art conservation, has been appointed the Susan Morse Hilles Chief Conservator at the Yale University Art Gallery.

McClure was previously director of the Hamilton Kerr Institute and assistant director for conservation at the Fitzwilliam Museum, both in Cambridge, England.

At the Yale Art Gallery, McClure will direct the care and preservation of the museum’s world-renowned collection. He will oversee the expansion of the gallery’s conservation staff, while developing a long-range philosophy and strategy in the areas of conservation treatment and research. Collaborating with curators, scholars and conservators at Yale and beyond, he will work to advance the gallery’s scholarship in the field of conservation through research, publications and symposia.

In partnership with the Yale Center for British Art, McClure will create new conservation treatment and research facilities for paintings, objects and works on paper that will be shared by the two museums. McClure will also work at Yale to enhance opportunities for conservation coursework and practicum at the undergraduate and graduate level, and to integrate conservation more fully into the University’s curriculum.

“We are thrilled that Ian is willing to cross the Atlantic to help boldly expand the role that innovative research, interdisciplinary scholarship and expert treatments can play in the lives of our two museums,” said Jock Reynolds, the Henry J. Heinz II Director of the Yale Art Gallery. This sentiment was echoed by Amy Meyers, director of the Yale Center for British Art, who said that she and the other museum staff looked forward to working with McClure to build a premiere conservation and teaching research program.

As director of the Hamilton Kerr Institute, McClure oversaw conservation services for the Fitzwilliam Museum, the Royal Collection, the National Trust and other collections open to the public. There, he also created a preminent painting conservation training program and oversaw research at the nexus of art history, science and preservation.


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