Plan Ahead

Visiting Karl Lagerfeld: A Line of Beauty or Van Gogh’s Cypresses?

Read the additional visitor guidelines

About The Met/ Conservation and Scientific Research/ Paintings Conservation/ Meet the Staff

Meet the Staff

Headshot of Shawn Digney Peer

Shawn Digney-Peer


Shawn Digney-Peer received a BS in French language and studio art from Georgetown University (Washington, DC). He obtained a postgraduate diploma in the conservation of easel paintings at the Courtauld Institute (London, UK) and then undertook an internship and Samuel H. Kress Fellowship at the Hamilton Kerr Institute (University of Cambridge, UK), where he treated old master pictures. In 2005, Shawn moved to New York for an Andrew W. Mellon fellowship at the Metropolitan Museum and was hired the following year to care for nineteenth-century, modern, and contemporary works.

Selected Publications

Headshot of Isabelle Duvernois

Isabelle Duvernois


Isabelle Duvernois joined the staff of the Department of Paintings Conservation at the Metropolitan Museum in 2005. Since then, she has specialized in the conservation of the Modern and Contemporary collection. Her most recent work includes collaborative research on objects in such exhibitions as Cubism: The Leonard A. Lauder Collection (2014), Matisse: In Search of True Painting (2012), Stieglitz and His Artists: Matisse to O'Keefe (2011), and Picasso in The Metropolitan Museum of Art (2010). She is a graduate of New York University's Conservation Center and Institute of Fine Arts.



Headshot of Michael Gallagher

Michael Gallagher

Sherman Fairchild Chairman of Paintings Conservation

In addition to his managerial role, Michael Gallagher specializes in the conservation of old master paintings and has published and lectured on many that he has conserved, including works by Bassano, Cranach, Giaquinto, Le Brun, Perino del Vaga, Reynolds, and Velázquez. He undertook postgraduate training at the Hamilton Kerr Institute, University of Cambridge, England. Following a fellowship at the J. Paul Getty Museum, he worked for the Kimbell Art Museum, Fort Worth; the Gemäldegalerie, Berlin; and the National Galleries of Scotland.

Selected Publications

  • Bayer, Andrea, Michael Gallagher, and Silvia A. Centeno. "Jacopo Bassano's Baptism of Christ." Artibus et Historiae, no. 68 (2013): 83–103.
  • Gallagher, Michael. "A New Painting by Perino del Vaga: Recent Cleaning and Technical Observations." The Burlington Magazine (October 2011): 650–2.
  • ———. "Velázquez's Philip IV in the Metropolitan Museum." In Metropolitan Museum Journal 45 (2010): 187–98.

Headshot of Charlotte Hale

Charlotte Hale


Charlotte Hale joined the Department of Paintings Conservation at The Met in 1987. She works on paintings spanning the collection, with a special focus on the nineteenth century; among recent conservation treatments are pictures by Delacroix, Degas, Renoir and Seurat. Her publications include technical studies of works by Lorenzo Monaco, Giovanni Bellini, Velázquez, Ingres, Gauguin, Cézanne, Van Gogh, and Seurat. She has worked closely with curatorial colleagues on three recent shows at The Met: Madame Cézanne (2014), Van Gogh: Irises and Roses (2015), and Seurat's Circus Sideshow (2017). Charlotte received her training in the conservation of paintings at the Courtauld Institute of Art, London, and returned as Research Forum visiting conservator in 2008.

Selected Publications

  • Hale, Charlotte. "Paul Gauguin's Paintings in the Metropolitan Museum of Art: Recent Revelations through Technical Examination." In The Lure of the Exotic: Gauguin in New York Collections, edited by Colta Ives and Susan Stein, The Metropolitan Museum of Art, New York, Distributed by Yale University Press, New Haven and London, 2002, 175-95.
  • ———.  "A Template for Experimentation: Cézanne's Process and the Paintings of Hortense Fiquet." In Madame Cézanne, by Dita Amory, The Metropolitan Museum of Art, New York, Distributed by Yale University Press, New Haven and London, 2014, 45-71.
  • ——— and Silvia A. Centeno. "Seurat’s Circus Sideshow; Materials, Technique, Evolution." In Seurat’s Circus Sideshow, by Richard Thomson, The Metropolitan Museum of Art, New York, Distributed by Yale University Press, New Haven and London, 2014, 112-116.

Headshot of José Luis Lazarte Luna

José Luis Lazarte Luna

Assistant Conservator

José Lazarte joined the Department of Paintings Conservation at the Metropolitan Museum in 2016 to complete a Mellon Fellowship followed by a Research Scholar position, and became a member of the staff in 2019. He works primarily with European paintings of the 16th to the 18th centuries and American paintings, including works from colonial Latin America. José received a BA in Art Conservation (with a minor in studio arts) from the University of Delaware and an MA in Science from the Winterthur/University of Delaware Graduate Program in Art Conservation in 2016. During his studies, he undertook internships at the Yale University Art Gallery, the Prado Museum and the Fine Arts Museums of San Francisco.

Selected Publications

  • Lazarte, José L., Silvia A. Centeno and Federico Carò. "Bold Gestures in a Devotional New Spanish Painting on Copper by Juan Francisco de Aguilera." Materia Journal of Technical Art History no. 1 (2021), forthcoming.
  • Centeno, Silvia A., Dorothy Mahon, Federico Carò and José L. Lazarte. "New Light on the Use of Ash in the Ground Preparations of Baroque Paintings from Spain, North and South America." Mobility Creates Masters: Discovering Artists' Grounds 1550-1700. Archetype Publications, forthcoming, 2020, 21-30.

Headshot of Dorothy Mahon

Dorothy Mahon


Dorothy Mahon received her MA in the history of art and a certificate of advanced study in conservation from the Institute of Fine Arts at New York University. She was appointed to the staff in 1981 and has conserved paintings spanning the collection, with emphasis on the technical examination and treatment of European paintings of the 15th to 19th centuries and American paintings, including works by Veronese, Caravaggio, Rembrandt, Goya, Delacroix, Homer, and Sargent. She has participated in the supervision and training of many graduate interns and fellows, and is a member of the editorial board of the Metropolitan Museum Journal.

Selected Publications

  • Kornhauser, Elizabeth Mankin, and Dorothy Mahon. "Technical Brilliance Revealed: Bingham's Fur Traders Descending the Missouri." In Navigating the West: George Caleb Bingham and the River, 135–55. New Haven: Yale University Press, 2014.
  • Mahon, Dorothy, Silvia A. Centeno, Mark T. Wypyski, Xavier F. Salomon, and Andrea Bayer. "Technical Study of Three Allegorical Paintings by Paolo Veronese." In Metropolitan Museum Studies in Art, Science, and Technology 1 (2010): 83–108.
  • The Frick Collection—The Cleaning of Rembrandt's Self-Portrait, 1658

Headshot of Alan Miller

Alan Miller

Associate Conservator

Alan Miller specializes in the structural conservation of panel paintings. He received an MA in art history from the University of Washington and a postgraduate diploma in the conservation of easel paintings from the Courtauld Institute of Art. Alan has been active in the Getty Panel Paintings Initiative, participating in the structural treatment of Durer's Adam and Eve panels at the Prado and structural treatment of Vasari's Last Supper panels, which were damaged in the 1966 Florence flood. His research interests include development of new spring mechanisms for use on secondary supports of previously thinned panels. See his LinkedIn profile.

Selected Publications

  • Miller, M. Alan, and George Bisacca. "Recent Developments in the Evolution of Spring-Loaded Secondary Supports for Previously Thinned Panel Paintings." In AIC Paintings Specialty Group Postprints 26 (2014). American Institute for Conservation, Paintings Specialty Group
  • Miller, M. Alan. "Marvel Seal Envelopes at the Metropolitan Museum of Art." In The Picture Restorer. London: BAPCR, April 2011.
  • Miller, M. Alan, George Bisacca, and Dimitri Galitzine. "The Development of a Spring Mechanism for use in Conjunction with Auxiliary Supports for Previously Thinned Panels." In Facing the Challenges of Panel Paintings Conservation: Trends, Treatments, and Training, 59–68. Los Angeles: Getty Conservation Institute, 2001.

Headshot of Cynthia Moyer

Cynthia Moyer

Associate Conservator

Cynthia Moyer graduated from William Smith College in 1975 with a BA in anthropology and sociology. Starting in 1974, she served informal apprenticeships in the furniture conservation field in Philadelphia and New York before establishing a private practice in 1977, specializing in gilded wood and finishes. She continued to train and joined the AIC in 1983. She has worked on contract for the Richard H. Jenrette Foundation, now CAHPT, The J. Paul Getty Museum, and the MFA Boston. After a Metropolitan Museum contract in 2006–7 in objects conservation, she joined the Department of Paintings Conservation in 2009.

Selected Publications

  • Moyer, Cynthia. "Ornamental Opulence: The French Régence Frame in The Metropolitan Museum of Art." American Institute for Conservation, Wooden Artifacts Group, Albuquerque, NM, May 2012 (postprints forthcoming).
  • Moyer, Cynthia, Remy Brazet, Gordon Hanlon, and Tracey Albainy. "The Conservation of a Set of Furniture Made for Thierry de Ville d'Avray: Discoveries in Gilding and Upholstery Practices in Eighteenth-Century Paris." In Apollo (May 2003): 39–44.
  • Moyer, Cynthia, and Gordon Hanlon. "Conservation of the Darnault Mirror: An Acrylic Emulsion Compensation System." AIC Journal (Fall 1996): 185–96.

Headshot of Jeanette O'Keefe

Jeanette O'Keefe


Jeanette O'Keefe has worked at the Metropolitan Museum since 2003, and has held positions in the Director's and President's Offices. She joined the Sherman Fairchild Center for Paintings Conservation in 2020. She received her BA in art history and studio art from Binghamton University, an MLIS from Pratt Institute, and a Graduate Certificate in Museum Collections Management and Care from The George Washington University.

Headshot of Evan Read

Evan Read

Manager of Technical Documentation

Evan Read works in tandem with the department's conservators on a wide range of treatment and research projects. He handles all aspects of the creation and management of photography, x-radiography, infrared reflectography, and infrared and ultraviolet photography. He earned a BS in genetics from the University of California, Berkeley, and an MFA from Hunter College in painting. Evan has an art practice centered on digital printing; examples of his work can be seen at

Headshot of Sophie Scully

Sophie Scully

Assistant Conservator

Sophie Scully joined the department in 2012 as a post-graduate intern, going on to be an Annette de la Renta fellow and Research Scholar before joining the staff in 2017. She works primarily on Old Master paintings with a focus on early Northern paintings; as part of this work she contributes technical text to the online catalogue of the Early Netherlandish collection. She received her BA in art from Williams College, and an MA in art history and an advanced certificate in conservation from the New York University Institute of Fine Arts in 2013.

Selected Publications

  • Scully, Sophie, and Christine Seidel. "A Tüchlein by Justus van Ghent: The Adoration of the Magi in The Metropolitan Museum of Art Re-Examined." Journal of Historians of Netherlandish Art 8:1 (Winter 2016). DOI: 10.5092/jhna.2016.8.1.3.
  • Miller, Asher Ethan, and Sophie Scully. "The Pont Neuf: A Paris View by Johan Barthold Jongkind Reconsidered." Metropolitan Museum Journal 50 (2015): 178–193.