Today we’d like to introduce you to Laura Hartman.
Laura, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
I am a painter, and have always been interested in historic materials and techniques. Initially I studied material science and art history, until I was taken under the wing of Dr. Joyce Hill Stoner, Paintings Conservator at Winterthur Museum, WUDPAC program. She was my first mentor in the field of conservation, I paid her a visit one summer afternoon, and she sat me down in front of a large Charles Wilson Peale portrait that was lying flat on a table, and I never left. I spent the next four years working with her while I finished my BS in Chemistry and Art History, and then another three years while I pursued my MS in Conservation of Paintings.
At the time I was working on early American paintings primarily, especially interested in the 18th and 19th centuries. My interest in Old Master paintings was also quite strong, so following my coursework I spent a year working at the Museo Nacional del Prado in Madrid Spain and at the Mauritshuis in Den Haag Netherlands.
Returning to the United States I spent some time at the Yale University Art Galleries where my focus shifted to contemporary art as I prepared several photorealistic paintings for a large exhibition. Then in 2013 I was awarded a fellowship at the Metropolitan Museum of Art where I worked prior to coming to Dallas.
The Dallas Museum of Art had at that time, never had an in house paintings conservation department. Mark Leonard was hired to build the conservation studio and department and hired me shortly after. I was intrigued by the museum and the wide ranging collection. Working with Mark was also extraordinary, it is rare to have an opportunity to build and develop a new Conservation Department, and especially at such a dynamic institution like the DMA. I have been the Paintings Conservator at the DMA for just about three years.
Fundamentally I just love paintings, and caring for them. It is a lovely and privileged experience and I live for it every day.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
I have been very lucky, but the road is not always straight and narrow.
I have worked with mentors I cannot speak more highly about, people with talents beyond this world. I have also been fortunate to work within world class collections and on paintings that make my knees weak.
This type of work is extremely specialized and challenging. I find the challenges incredibly satisfying when you finally solve them.
Please tell us about Dallas Museum of Art.
I am the Paintings Conservator at the Dallas Museum of Art.
Our studio is incredibly beautiful, we renovated the old restaurant space and have incredibly beautiful light that comes in through the glass walls and skylights.
I initially specialized in Old Master paintings but have extended my expertise to encompass the entire encyclopedic collection. What is especially special about the studio is the wide range of history that comes in at any given day. It makes it possible to make really interesting connection between a range of paintings.
I specialize in various aspects of conservation, but one area I have been working on for several years is structural treatment and specifically tear mending of paintings. That means when a painting comes in to the studio with a tear I repair the tear using a specialized technique.
I am also proud of our internship program. Training interns is a fabulous way to share knowledge and expertise.
If you had to go back in time and start over, would you have done anything differently?
It sounds insincere but I do not think I would do much differently. Everything we go through is a lesson learned, and I would not be the conservator or person I am today without those experiences. My sister is actually also a conservator, she began several years after me. I have been able to watch her development and give her advice which has been in some ways like a do over but it has equally made me aware of how special many of my experiences have been.
I find that the underpinning motivation for both of us, that underlying love of paintings and the work, makes it worth the challenges.
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