Conservation of Fine Art (Works of Art on Paper) MA

Northumbria University

United Kingdom, Newcastle upon Tyne

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Home/United Kingdom/Newcastle upon Tyne /Northumbria University/Conservation of Fine Art (Works of Art on Paper) MA

Northumbria University

United Kingdom , Newcastle upon Tyne

Key Facts

Program Level

Master by Course Work

Study Type

Full Time

Delivery

On Campus

Campuses

Newcastle

Northumbria University

Program Language

English

Start & Deadlines

Next Intake Deadlines

Apply to this program

Go to the official application for the university

Duration 2 year(s)

Tuition Fee

GBP 41,900 / year(s)

Conservation of Fine Art (Works of Art on Paper) MA

About

The MA Conservation of Fine Art programme (Works of Art on Paper) provides you with the knowledge and skills necessary for a career as a conservator of works of art on paper.

This postgraduate programme aims to provide you with advanced knowledge and skills in both practice and research in the conservation of works of art on paper. Northumbria University’s Conservation of Fine Art MA is the only Masters programme in the UK that offers specialisms in both the conservation of Easel Painting and Works of Art on Paper.

The programme aims to develop your skills in critical awareness, research, ethics and philosophy, art history, conservation science and the care of collections, in addition to honing the meticulous practical skills that are necessary in becoming a professional conservator.

The combination of meticulous practical skill, a sound knowledge of science, and passion for art and art history will make this Masters programme of interest to those from both a science and arts background.

Integrating a combination of studio practice, science and art history, the programme covers a range of inter-related subjects. During the course, you will study conservation practice, conservation history, the history of materials and techniques, conservation theory and ethics, conservation science, art history, technical photography, technical art history, preventive conservation and research skills. Additionally, you will be introduced to studio management, the use of methodologies and materials in conservation and good health and safety practice.

Conservation is a multidisciplinary field, continuously informed by developments in cultural heritage, visual arts practice, sustainability, ethics, cultural policy, and materials science. The spirit and day to day practice within the course reflects the professional codes of practice established by the International Institute for Conservation (IIC), the International Council of Museums (ICOM) and United Kingdom Institute for Conservation (ICON). The Conservation of Fine Art MA is a multidisciplinary based programme and on graduation you will leave with the highly specialised knowledge and skills required to formally enter the conservation profession.

In order to broaden your cultural perspective and enhance your practical learning experience, you will also have the opportunity to carry out a placement in the summer recess. Past students have carried out placements in studios in the UK and globally and have included the British Museum, the Royal Ontario Museum, the National Museum of Australia the Tate and a number of world renowned independent conservation studios.

We welcome applications from students from a wide range of academic backgrounds. Typically, but not exclusively, students will have a first degree in Fine Art, Art History or one of the Sciences. Students with a science background should be able to demonstrate skill in practical subject area (eg. painting, drawing, printmaking). Students from an art practice background should demonstrate a sound knowledge of science.

You may also be interested in Conservation of Fine Art (Easel Paintings).

If you’d like to browse what other postgraduate programmes we offer or have any queries, please get in touch.

What can I expect from the Works of Art on Paper specialism?

The field of fine art paper conservation involves the care, protection, cleaning, repair and mounting of a wide range of of objects on paper. These include prints, drawings, watercolours, posters, portrait miniatures, historic wallpapers and three dimensional objects, such as paper costumes and architectural models. As a support for writing, drawing and printing, paper has been in use for more than two thousand years across many world cultures. Thus, objects treated by paper conservators are not limited to western works of art, but also include Persian and Indian miniature paintings, Buddhist Thang-ka paintings, Japanese wood block prints and painted scrolls and and screens from China, Japan and Korea.

Paper objects are particularly vulnerable to physical damage, light, humidity and air pollution, as well as contact with harmful materials such as poor quality backing boards and mounts, pressure-sensitive adhesive tapes and ill-fitting frames. Deterioration of paper can also occur through improper handling and from the action of mould and insects. Conservation seeks primarily to stabilise the condition of a work on paper, preserve its physical and aesthetic integrity, and ultimately promote its long-term preservation to facilitate access, study and research.

Works on paper often represent the most numerous objects in a given collection and therefore, a paper conservator must not only possess the meticulous skill to carry out complex treatment techniques on a wide range of individual items, but also be responsible for the preservation and conservation needs of an entire collection.

Modern and contemporary art on paper also presents its own unique problems, particularly in regards to the widespread use of modern synthetic paints from the mid-twentieth century onward. This has led to the development of a number of innovative and cross-disciplinary treatment procedures and collaborative research projects.The scope of the paper conservator’s work has therefore significantly widened in recent years and the remit of the paper conservator also covers development of collection care strategies, management of exhibition and preservation storage standards as well as engaging in research, advocacy, public outreach and training. The profession therefore attracts highly proficient and academic individuals who not only possess significant practical skills but also strong research and interdisciplinary skills, .

The programme leads to a wide range of opportunities for employment in the heritage sector.

What is a ‘cultural partnership’ and how will it support my learning?

Cultural partnerships are when institutions work together to promote art, traditions, or values. At Northumbria, this includes museums, charities, and other education partners teaming up to create an enhanced curriculum designed to support your learning experience and employability. These partnerships help you:

Showcase skills and innovation
Attend events such as masterclasses and workshops
Access to archives
Gain experiential learning opportunities, such as working on live briefs.
Network with key employers
Unlock potential placement opportunities, during or beyond your studies.

Students studying Conservation of Fine Art will benefit directly from our education partnership with North East Museums. This may involve gallery and venue tours around the city.

Requirements

Entry Requirements

Entry Requirements 2025/26

Standard Entry

Applicants should normally have:

A minimum of a 2:1 honours degree in a related subject such Fine Art, Art History, Conservation, or Applied Sciences, including Chemistry, Physics, Biology, Forensic Science, Polymer Science or Chemical Engineering. although applicants from other related fields will also be considered.

Applicants with science backgrounds must have interest in learning about practical art, and arts graduates should have minimum grade 7 or higher in GCSE Chemistry or 65% or above in the Chemistry for Conservators’ Certificate from the International Academic Projects correspondence course.

Applicants are required to have sound colour vision, manual dexterity, logical thought and the ability to apply theoretical knowledge to changing practical situations. Applicants should also appreciate the integrity of works of art and have a sensitivity of approach, along with a calm temperament and infinite patience.

International qualifications:

If you have studied a non UK qualification, you can see how your qualifications compare to the standard entry criteria, by selecting the country that you received the qualification in, from our country pages. Visit www.northumbria.ac.uk/yourcountry

English language requirements:

International applicants are required to have a minimum overall IELTS (Academic) score of 6.5 with 5.5 in each component (or approved equivalent*).

*The university accepts a large number of UK and International Qualifications in place of IELTS. You can find details of acceptable tests and the required grades you will need in our English Language section. Visit www.northumbria.ac.uk/englishqualifications

Career

This programme has been developed to provide all the skills and knowledge required to begin a career in Fine Art Conservation. At Northumbria there are also many additional opportunities available to further enhance your career prospects.

Throughout the duration of the programme, you will develop employability skills, not only as a conservation practitioner in your chosen specialism, but through participation in seminars and class discussions where you will develop important ‘soft skills’, that will enable you to take the first step in your career as a conservator. Northumbria University is committed to enhancing employability of its students by supporting students in their career journey while on the programme and beyond. In addition to completing a professional placement to further enhance your development, students have the opportunity to present their own research at the annual Gerry Hedley Student Symposium organised by the conservation departments at Northumbria University, the Courtauld Institute, London and the Hamilton Kerr Institute, University of Cambridge.

Staff have a strong professional network which, together with a worldwide cohort of alumni, assists in providing students and graduates with placement and job opportunities. Students are actively encouraged to organize and participate in placements during the summer recess between year one and year two in order to gain valuable experience that can be taken forward into the second year.

We actively encourage students to join professional conservation bodies, such as the Institute of Conservation (ICON), the International Institute for Conservation of Historic and Artistic works (IIC) and the International Council of Museums Committee for Conservation (ICOM-CC), all of which have vibrant student and emerging conservator networks. Students are also encouraged to attend and speak at professional conferences, particularly those that are student-led. This helps you to network with professionals and peers working within the profession.

You will also benefit from our formal partnerships with the Northumbria University collections and archives and with several local and national museums (for example: Tyne and Wear Archives and Museums, the Bowes Museum, the National Museum of Scotland, V&A, and Tate). We also have a long-standing relationship with the National Trust in the UK, who have provided students with opportunities for study and project work in the past.

On completion of the programme, students typically find employment in galleries, libraries, archives, museums and other heritage institutions, or continue their research to PhD level.

Northumbria University Conservation of Fine Art alumni influence conservation and heritage policy throughout the world. Some notable alumni include; Virginia Lladó-Buisán, Head of Conservation & Heritage Science, Bodleian Libraries; Britta New, Senior Painting Restorer, National Gallery, London; Anne Slettemoen, Head of Conservation at the National Museum of Sweden; Alan Derbyshire, former Head of Paper, Book and Paintings at the V&A; Dr Bronwyn Ormsby, Principle Conservation Scientist Tate, and Nick Dorman, Chief Conservator Seattle Art Museum.