Annika Svendsen Finne, M.A.



  • Late medieval Italian painting techniques
  • Contexts where professional artists are responsible for art repair and care, historically and in the present day
  • Relationships between living artists and conservators
  • Forms of authorship and authority
  • Latency and emergent meaning
  • Agencies and biases of analytical and imaging tools used for studying works of art


Simulation and Invention as Techniques for Fixing Paintings in Italy, ca. 1300–1500

Publikationen (Auswahl)

  • "The Overpaint-ability of Madonnas in 1300s Siena", in The Expanded Field of Conservation, hg. v. Caroline Fowler und Alexander Nagel, New Haven 2023, S. 38–53.  
  • (gemeinsam mit Irma Passeri und Anikó Bezur) "Gel formulations coupled with mechanical cleaning techniques to remove old overpaint coatings", in Gels in the Conservation of Art (Tagungsband, London 2017), hg. v. Lora V. Angelova, Bronwyn Ormsby, Joyce Townsend und Richard Wolbers, London 2017, S. 306–315.
  • (gemeinsam mit Irma Passeri) "Unusual activities between image and panel", Paintings Speciality Group Postprints, 31 (2018), S. 33–43.


Annika Svendsen Finne is a practicing paintings conservator and a PhD candidate in the history of art at the Institute of Fine Arts, New York University, advised by Professor Alexander Nagel. She holds a B.A. from Brown University (2012) and an M.A. and M.S. in the Conservation of Historic and Artistic Works, with a specialty in paintings conservation, from the Institute of Fine Arts (2016). As a conservator she has over ten years of experience working in both public institutions, including the Yale University Art Gallery, the Museo Nacional del Prado, the Kunsthistorisches Museum Vienna, the Museum of Modern Art, New York, and in private firms, including Modern Art Conservation in New York. She is a recipient of the RDM prize for excellence in conservation treatment and her academic work has been supported by the Renaissance Society of America and the Samuel H. Kress Foundation, among other funding sources. She has taught at the Cooper Union School for the Advancement of Art and Science and is the incoming James Arthur fellow for the study of time at New York University.

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