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Hamilton Kerr Institute

Fitzwilliam Museum


Adele Wright graduated from Emmanuel College, Cambridge, in History of Art in 2009 and volunteered for a year at Bristol Museum and Art Gallery before beginning her training in Easel Painting Conservation at the Hamilton Kerr Institute, from which she graduated in 2013. She then completed an internship at the National Gallery of Art, Washington D. C., before moving to London and working in various private studios as a Freelance Paintings Conservator. From 2015-2017 Adele worked as a Painting Conservation Fellow at Tate Modern and has since worked periodically as a Freelance Paintings Conservator on the Tate Professional Register. In 2017 she worked as a Paintings Conservator at the National Maritime Museum before joining the Organics Conservation department at the British Museum where she worked until mid-2018. Adele began her role as Paintings Conservator at the Hamilton Kerr Institute in June 2018.


Adele has a wide range of research interests including the conservation of modern and contemporary art, and indigenous paintings from world cultures. Her areas of interest include the ethics of various approaches to conservation, the investigation of artists’ materials and techniques, as well as the connections between conservation, artists’ practice and the wider context of material culture. 


Key publications: 
  • A. Wright (ed.), The Picture Restorer, 53, Autumn 2018 (forthcoming).
  • A. Wright, Poetic Revelations and Structural Reformation: Exploring the Biography of a Late-Tudor Panel Painting, The Picture Restorer, 52, Spring 2018
  • J. Townsend, A. King and A. Wright (eds.), Picabia Ernst: New Perspectives. London: Archetype, 2018.
  • A. Wright, ‘Method Cannot Govern Everything’ Delacroix: Mid-Century Modern Master, In: A Changing Art: Nineteenth Century Painting Practice and Conservation BAPCR Conference Postprints. London: Archetype, 2017.
  • A. Wright (ed.), The Picture Restorer, 51, Autumn 2017.
  • A. Wright (ed.), The Picture Restorer, 49, Autumn 2016.
  • A. Wright, A Technical Study of Rebecca and Eliezer at the Well After Nicolas Poussin, Hamilton Kerr Bulletin, 5, 2014.
  • A. Wright, 2014. ‘Though rosy cheeks and lips within his bending sickle’s compass come:’ Faded Red Lake in The Hon. Mrs. Thomas Graham by Thomas Gainsborough, The Picture Restorer, 44, Spring 2014.
Conservator of Easel Paintings
 Adèle  Wright

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